IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

IDENTITY AND DESIGN FOR HIGHSNOBIETY BERLIN, BERLIN 3, 2022 — Since its launch in early 2021, ‘Berlin, Berlin’ has become an extensive omnichannel project. Through editorial storytelling, limited product drops, and immersive exhibitions, ‘Berlin, Berlin’ tells the story of the minds that make Berlin a cultural capital. This included the design of several capsule collections in collaboration with institutions such as Neue Nationalgalerie and Tresor, an extensive out-of-home campaign, a city guide, and an array of events in the cultural space. Design Director Chloé Techoueyres. Brand Manager Anders Schans.

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Concept and design for Highsnobiety x Braun, 2021 — 100 years on, Braun’s design ethos of simplicity and functionality lives on. The collection celebrates the impact Braun’s visual language continues to have on the aesthetic and functional aspects of product design. Design Director Chloé Techoueyres, Creative Director Commerce Herbert Hofmann. Campaign with Laura Fritz, Filip Setmanuk (CGI).

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

Art direction for Highsnobiety GATZEZERO Campaign, 2022 — Creative concept with Laura Fritz. Out-of-home takeover at CPH airport for GATEZERO’s Copenhagen store launch. Shot by Polo Lindström Muller, Video Miriam Woodburn, Production Jerome Glock.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

CLASSIC PARIS capsule for Highsnobiety x Coca-Cola x Disneyland Paris, 2022 —The biggest challenge we faced during the design process was bringing two CIs as iconic as Coca-Cola and Disneyland Paris together in a unique way. Looking at the identities of both brands, we zoomed in on the secondary typographic elements “Classic” and “Paris” respectively and reimagined those as a joint logo. Incorporating both the coke bottle and castle IP, adds a layer of playfulness, that is reflected on the garments in the form of graphic patches and embroidered details. Concept and design with Chloé Techoueyres, Project management Nina Saup, Campaign Creative by Laura Fritz.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

Art direction for Chapter Magazine, Issue N° I – V, 2018 – 2022 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.

BE@RBRICK “World Wide Tour 3” for Highsnobiety, Medicom Toy, 2021 — Using the bear as a canvas, the design concept evolved from Highsnobiety’s legacy as a publisher. We are paying tribute to our origin as a news platform by printing a graphic interpretation of an article onto the bear, that will be published on Highsnobiety.com. The graphic language takes cues from traditional newspaper design, while the image layer of semi-transparent hyperreal renderings ties back to the icon status of the bear. Exhibited in Tokyo, December 2021.

BE@RBRICK “World Wide Tour 3” for Highsnobiety, Medicom Toy, 2021 — Using the bear as a canvas, the design concept evolved from Highsnobiety’s legacy as a publisher. We are paying tribute to our origin as a news platform by printing a graphic interpretation of an article onto the bear, that will be published on Highsnobiety.com. The graphic language takes cues from traditional newspaper design, while the image layer of semi-transparent hyperreal renderings ties back to the icon status of the bear. Exhibited in Tokyo, December 2021.

BE@RBRICK “World Wide Tour 3” for Highsnobiety, Medicom Toy, 2021 — Using the bear as a canvas, the design concept evolved from Highsnobiety’s legacy as a publisher. We are paying tribute to our origin as a news platform by printing a graphic interpretation of an article onto the bear, that will be published on Highsnobiety.com. The graphic language takes cues from traditional newspaper design, while the image layer of semi-transparent hyperreal renderings ties back to the icon status of the bear. Exhibited in Tokyo, December 2021.

BE@RBRICK “World Wide Tour 3” for Highsnobiety, Medicom Toy, 2021 — Using the bear as a canvas, the design concept evolved from Highsnobiety’s legacy as a publisher. We are paying tribute to our origin as a news platform by printing a graphic interpretation of an article onto the bear, that will be published on Highsnobiety.com. The graphic language takes cues from traditional newspaper design, while the image layer of semi-transparent hyperreal renderings ties back to the icon status of the bear. Exhibited in Tokyo, December 2021.

BE@RBRICK “World Wide Tour 3” for Highsnobiety, Medicom Toy, 2021 — Using the bear as a canvas, the design concept evolved from Highsnobiety’s legacy as a publisher. We are paying tribute to our origin as a news platform by printing a graphic interpretation of an article onto the bear, that will be published on Highsnobiety.com. The graphic language takes cues from traditional newspaper design, while the image layer of semi-transparent hyperreal renderings ties back to the icon status of the bear. Exhibited in Tokyo, December 2021.

BE@RBRICK “World Wide Tour 3” for Highsnobiety, Medicom Toy, 2021 — Using the bear as a canvas, the design concept evolved from Highsnobiety’s legacy as a publisher. We are paying tribute to our origin as a news platform by printing a graphic interpretation of an article onto the bear, that will be published on Highsnobiety.com. The graphic language takes cues from traditional newspaper design, while the image layer of semi-transparent hyperreal renderings ties back to the icon status of the bear. Exhibited in Tokyo, December 2021.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

Identity and Design for Highsnobiety BERLIN, BERLIN, 2021 — Initially launched as a virtual fashion week and augmented reality exhibition, Berlin, Berlin expanded into a multi-disciplinary showcase of product and content collaborations, shedding light on the creative scenes of Berlin. Including live video-streams, augmented reality exhibitions, exclusive product drops, city guides, and onsite events, that bridge the gap between physical and digital experiences. Design Director Chloé Techoueyres.

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

CONCEPT AND DESIGN FOR HIGHSNOBIETY X Nike Berlin Marathon, 2021 — Inspired by the Situationist concept of a ‘Dérive’, the collection is based on the idea of traversing through a city with no end point in mind. Graphics in the piece represent Berlin landmarks, including the Berlin Bear and typical ‘Plattenbau’, which are completed with each location's coordinates. Elsewhere, we track our route across the collection, following our own dérive exploring the city. The final ‘You Are Here’ graphic is referencing the common sign found on maps to identify one's location, and also serves as a nod to the importance of being "in the moment" for marathon runners. Concept with Chloé Techoueyres, Design with Nayan Graf Quartier (Design Lead), Chloé Techoueyres, Hampus Frage, Creative Director Commerce Herbert Hofmann. 

Art direction for NOT IN PARIS 4ème edition, Highsnobiety, 2022 — Shot by CG Watkins, styled by Kevin Lanoy, Creative concept and Art direction with Laura Fritz, 3D and Retouching by Melanie Glück.

Art direction for NOT IN PARIS 4ème edition, Highsnobiety, 2022 — Shot by CG Watkins, styled by Kevin Lanoy, Creative concept and Art direction with Laura Fritz, 3D and Retouching by Melanie Glück.

Art direction for NOT IN PARIS 4ème edition, Highsnobiety, 2022 — Shot by CG Watkins, styled by Kevin Lanoy, Creative concept and Art direction with Laura Fritz, 3D and Retouching by Melanie Glück.

Art direction for NOT IN PARIS 4ème edition, Highsnobiety, 2022 — Shot by CG Watkins, styled by Kevin Lanoy, Creative concept and Art direction with Laura Fritz, 3D and Retouching by Melanie Glück.

Art direction for NOT IN PARIS 4ème edition, Highsnobiety, 2022 — Shot by CG Watkins, styled by Kevin Lanoy, Creative concept and Art direction with Laura Fritz, 3D and Retouching by Melanie Glück.

Art direction for NOT IN PARIS 4ème edition, Highsnobiety, 2022 — Shot by CG Watkins, styled by Kevin Lanoy, Creative concept and Art direction with Laura Fritz, 3D and Retouching by Melanie Glück.

Art direction for NOT IN PARIS 4ème edition, Highsnobiety, 2022 — Shot by CG Watkins, styled by Kevin Lanoy, Creative concept and Art direction with Laura Fritz, 3D and Retouching by Melanie Glück.

Art direction for NOT IN PARIS 4ème edition, Highsnobiety, 2022 — Shot by CG Watkins, styled by Kevin Lanoy, Creative concept and Art direction with Laura Fritz, 3D and Retouching by Melanie Glück.

Misc. illustrations and Graphics, 2021

Misc. illustrations and Graphics, 2021

Identity and store design concept for HIGHArt, 2021 — Highsnobitey pop-up store located in Miami's Design District during Art Basel: HIGHArt – A Museum Store Without the Museum. Design Director Chloé Techoueyres.

Identity and store design concept for HIGHArt, 2021 — Highsnobitey pop-up store located in Miami's Design District during Art Basel: HIGHArt – A Museum Store Without the Museum. Design Director Chloé Techoueyres.

Identity and store design concept for HIGHArt, 2021 — Highsnobitey pop-up store located in Miami's Design District during Art Basel: HIGHArt – A Museum Store Without the Museum. Design Director Chloé Techoueyres.

Identity and store design concept for HIGHArt, 2021 — Highsnobitey pop-up store located in Miami's Design District during Art Basel: HIGHArt – A Museum Store Without the Museum. Design Director Chloé Techoueyres.

Identity and store design concept for HIGHArt, 2021 — Highsnobitey pop-up store located in Miami's Design District during Art Basel: HIGHArt – A Museum Store Without the Museum. Design Director Chloé Techoueyres.

Identity and store design concept for HIGHArt, 2021 — Highsnobitey pop-up store located in Miami's Design District during Art Basel: HIGHArt – A Museum Store Without the Museum. Design Director Chloé Techoueyres.

Identity and store design concept for HIGHArt, 2021 — Highsnobitey pop-up store located in Miami's Design District during Art Basel: HIGHArt – A Museum Store Without the Museum. Design Director Chloé Techoueyres.

Identity and store design concept for HIGHArt, 2021 — Highsnobitey pop-up store located in Miami's Design District during Art Basel: HIGHArt – A Museum Store Without the Museum. Design Director Chloé Techoueyres.

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger. 

Design for Highsnobiety Jazz TV, Merch design, visual identity and video graphics, 2020 — Highsnobiety teamed up with the iconic Newport Jazz Festival for a charitable three-day musical program that turned Highsnobiety into a public access television station dedicated to the art form of jazz, and also included a merch drop. The program featured a line-up of performances, DJ sets, and panels from across the worlds of music and fashion, including Virgil Abloh, Alex Da Kid, Tremaine Emory, Ali Shaheed Muhammad, among others. Design Director Chloé Techoueyres, Video editing Louie Mcpherson, Creative Director Commerce Herbert Hofmann, Editor-in-Chief Thom Bettridge.

Design for Highsnobiety Jazz TV, Merch design, visual identity and video graphics, 2020 — Highsnobiety teamed up with the iconic Newport Jazz Festival for a charitable three-day musical program that turned Highsnobiety into a public access television station dedicated to the art form of jazz, and also included a merch drop. The program featured a line-up of performances, DJ sets, and panels from across the worlds of music and fashion, including Virgil Abloh, Alex Da Kid, Tremaine Emory, Ali Shaheed Muhammad, among others. Design Director Chloé Techoueyres, Video editing Louie Mcpherson, Creative Director Commerce Herbert Hofmann, Editor-in-Chief Thom Bettridge.

Design for Highsnobiety Jazz TV, Merch design, visual identity and video graphics, 2020 — Highsnobiety teamed up with the iconic Newport Jazz Festival for a charitable three-day musical program that turned Highsnobiety into a public access television station dedicated to the art form of jazz, and also included a merch drop. The program featured a line-up of performances, DJ sets, and panels from across the worlds of music and fashion, including Virgil Abloh, Alex Da Kid, Tremaine Emory, Ali Shaheed Muhammad, among others. Design Director Chloé Techoueyres, Video editing Louie Mcpherson, Creative Director Commerce Herbert Hofmann, Editor-in-Chief Thom Bettridge.

Design for Highsnobiety Jazz TV, Merch design, visual identity and video graphics, 2020 — Highsnobiety teamed up with the iconic Newport Jazz Festival for a charitable three-day musical program that turned Highsnobiety into a public access television station dedicated to the art form of jazz, and also included a merch drop. The program featured a line-up of performances, DJ sets, and panels from across the worlds of music and fashion, including Virgil Abloh, Alex Da Kid, Tremaine Emory, Ali Shaheed Muhammad, among others. Design Director Chloé Techoueyres, Video editing Louie Mcpherson, Creative Director Commerce Herbert Hofmann, Editor-in-Chief Thom Bettridge.

Design for Highsnobiety Jazz TV, Merch design, visual identity and video graphics, 2020 — Highsnobiety teamed up with the iconic Newport Jazz Festival for a charitable three-day musical program that turned Highsnobiety into a public access television station dedicated to the art form of jazz, and also included a merch drop. The program featured a line-up of performances, DJ sets, and panels from across the worlds of music and fashion, including Virgil Abloh, Alex Da Kid, Tremaine Emory, Ali Shaheed Muhammad, among others. Design Director Chloé Techoueyres, Video editing Louie Mcpherson, Creative Director Commerce Herbert Hofmann, Editor-in-Chief Thom Bettridge.

Design for Highsnobiety Jazz TV, Merch design, visual identity and video graphics, 2020 — Highsnobiety teamed up with the iconic Newport Jazz Festival for a charitable three-day musical program that turned Highsnobiety into a public access television station dedicated to the art form of jazz, and also included a merch drop. The program featured a line-up of performances, DJ sets, and panels from across the worlds of music and fashion, including Virgil Abloh, Alex Da Kid, Tremaine Emory, Ali Shaheed Muhammad, among others. Design Director Chloé Techoueyres, Video editing Louie Mcpherson, Creative Director Commerce Herbert Hofmann, Editor-in-Chief Thom Bettridge.

Design for Highsnobiety Jazz TV, Merch design, visual identity and video graphics, 2020 — Highsnobiety teamed up with the iconic Newport Jazz Festival for a charitable three-day musical program that turned Highsnobiety into a public access television station dedicated to the art form of jazz, and also included a merch drop. The program featured a line-up of performances, DJ sets, and panels from across the worlds of music and fashion, including Virgil Abloh, Alex Da Kid, Tremaine Emory, Ali Shaheed Muhammad, among others. Design Director Chloé Techoueyres, Video editing Louie Mcpherson, Creative Director Commerce Herbert Hofmann, Editor-in-Chief Thom Bettridge.

Illustrations for HS Insights Week Q2, 2020

Illustrations for HS Insights Week Q2, 2020

Illustrations for HS Insights Week Q2, 2020

Illustrations for HS Insights Week Q2, 2020

3D-Render Artworks for Highsnobiety ‘Summer Shorts Hub’, 2020

3D-Render Artworks for Highsnobiety ‘Summer Shorts Hub’, 2020

3D-Render Artworks for Highsnobiety ‘Summer Shorts Hub’, 2020

3D-Render Artworks for Highsnobiety ‘Summer Shorts Hub’, 2020

3D-Render Artworks for Highsnobiety ‘Summer Shorts Hub’, 2020

Visual identity for CRONE Side, 2018 — The booklet was conceived as part of the visual identity for Galerie CRONE’s offsite group exhibition “A Fist Of Pure Emotion” featuring 22 artists. The visual language is based on the usage of two contrasting typefaces. We were involved in the design of printed matter as well as signage. Concept and design with Timo Schmitt.

Visual identity for CRONE Side, 2018 — The booklet was conceived as part of the visual identity for Galerie CRONE’s offsite group exhibition “A Fist Of Pure Emotion” featuring 22 artists. The visual language is based on the usage of two contrasting typefaces. We were involved in the design of printed matter as well as signage. Concept and design with Timo Schmitt.

Visual identity for CRONE Side, 2018 — The booklet was conceived as part of the visual identity for Galerie CRONE’s offsite group exhibition “A Fist Of Pure Emotion” featuring 22 artists. The visual language is based on the usage of two contrasting typefaces. We were involved in the design of printed matter as well as signage. Concept and design with Timo Schmitt.

Visual identity for CRONE Side, 2018 — The booklet was conceived as part of the visual identity for Galerie CRONE’s offsite group exhibition “A Fist Of Pure Emotion” featuring 22 artists. The visual language is based on the usage of two contrasting typefaces. We were involved in the design of printed matter as well as signage. Concept and design with Timo Schmitt.

Visual identity for CRONE Side, 2018 — The booklet was conceived as part of the visual identity for Galerie CRONE’s offsite group exhibition “A Fist Of Pure Emotion” featuring 22 artists. The visual language is based on the usage of two contrasting typefaces. We were involved in the design of printed matter as well as signage. Concept and design with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Design for INDIE Magazine, Issue N° 58 – 61,  2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In ‘Klapp-Stullen' (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).

LeadAwards 2018, Overall Visual Identity, 2018 — LeadAwards is one of Germany’s most important media awards for newspapers, magazines and online media. After a one year hiatus, the format was restructured to particularly honour publishers and chief editors in seven categories. In times of fake news debates, manipulation allegations and hate-post escalations, the LeadAcademy sees the personalization of the award as a necessary signal to strengthen a free, independent, high quality journalism. The visual identity centers around the keyvisual, a sculptural rendering of a blank newspaper that is interpreted in different ways. For the winner certificates, white UV-ink was printed on gold, platinum and bronze paper. Concept and design with Timo Schmitt.

LeadAwards 2018, Overall Visual Identity, 2018 — LeadAwards is one of Germany’s most important media awards for newspapers, magazines and online media. After a one year hiatus, the format was restructured to particularly honour publishers and chief editors in seven categories. In times of fake news debates, manipulation allegations and hate-post escalations, the LeadAcademy sees the personalization of the award as a necessary signal to strengthen a free, independent, high quality journalism. The visual identity centers around the keyvisual, a sculptural rendering of a blank newspaper that is interpreted in different ways. For the winner certificates, white UV-ink was printed on gold, platinum and bronze paper. Concept and design with Timo Schmitt.

LeadAwards 2018, Overall Visual Identity, 2018 — LeadAwards is one of Germany’s most important media awards for newspapers, magazines and online media. After a one year hiatus, the format was restructured to particularly honour publishers and chief editors in seven categories. In times of fake news debates, manipulation allegations and hate-post escalations, the LeadAcademy sees the personalization of the award as a necessary signal to strengthen a free, independent, high quality journalism. The visual identity centers around the keyvisual, a sculptural rendering of a blank newspaper that is interpreted in different ways. For the winner certificates, white UV-ink was printed on gold, platinum and bronze paper. Concept and design with Timo Schmitt.

LeadAwards 2018, Overall Visual Identity, 2018 — LeadAwards is one of Germany’s most important media awards for newspapers, magazines and online media. After a one year hiatus, the format was restructured to particularly honour publishers and chief editors in seven categories. In times of fake news debates, manipulation allegations and hate-post escalations, the LeadAcademy sees the personalization of the award as a necessary signal to strengthen a free, independent, high quality journalism. The visual identity centers around the keyvisual, a sculptural rendering of a blank newspaper that is interpreted in different ways. For the winner certificates, white UV-ink was printed on gold, platinum and bronze paper. Concept and design with Timo Schmitt.

LeadAwards 2018, Overall Visual Identity, 2018 — LeadAwards is one of Germany’s most important media awards for newspapers, magazines and online media. After a one year hiatus, the format was restructured to particularly honour publishers and chief editors in seven categories. In times of fake news debates, manipulation allegations and hate-post escalations, the LeadAcademy sees the personalization of the award as a necessary signal to strengthen a free, independent, high quality journalism. The visual identity centers around the keyvisual, a sculptural rendering of a blank newspaper that is interpreted in different ways. For the winner certificates, white UV-ink was printed on gold, platinum and bronze paper. Concept and design with Timo Schmitt.

Bauhaus Centenary, Campaign visuals — The key visual of the number “100” is characteristic for the visual identity of the 2019 centenary and consistently brands the many projects and events that are part of it. Stan Hema developed the corporate identity for the Bauhaus Centenary “100 years of bauhaus”. For and with Stan Hema. 

Bauhaus Centenary, Campaign visuals — The key visual of the number “100” is characteristic for the visual identity of the 2019 centenary and consistently brands the many projects and events that are part of it. Stan Hema developed the corporate identity for the Bauhaus Centenary “100 years of bauhaus”. For and with Stan Hema. 

Bauhaus Centenary, Campaign visuals — The key visual of the number “100” is characteristic for the visual identity of the 2019 centenary and consistently brands the many projects and events that are part of it. Stan Hema developed the corporate identity for the Bauhaus Centenary “100 years of bauhaus”. For and with Stan Hema. 

Bauhaus Centenary, Campaign visuals — The key visual of the number “100” is characteristic for the visual identity of the 2019 centenary and consistently brands the many projects and events that are part of it. Stan Hema developed the corporate identity for the Bauhaus Centenary “100 years of bauhaus”. For and with Stan Hema. 

Poetic Critique conference, Poster options, 594 × 841 mm, 2018 — For this academic conference poster I developed three options, each is reminiscent of the design language of mid-century Swiss poster design, playing with space and negative space in different ways. Hosted by Freie Universität and Indiana University.

Poetic Critique conference, Poster options, 594 × 841 mm, 2018 — For this academic conference poster I developed three options, each is reminiscent of the design language of mid-century Swiss poster design, playing with space and negative space in different ways. Hosted by Freie Universität and Indiana University.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

VEIT, Corporate design incl. printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.

Staatstheater Hannover, Poster series, 2018 — The Staatstheater Hannover (Hanover State Theatres) is a repertory theatre offering several theatrical genres: drama, opera and ballet. Stills from video recordings and other material are arranged into pairs creating visual references. Concept and design for and with Stan Hema.

Staatstheater Hannover, Poster series, 2018 — The Staatstheater Hannover (Hanover State Theatres) is a repertory theatre offering several theatrical genres: drama, opera and ballet. Stills from video recordings and other material are arranged into pairs creating visual references. Concept and design for and with Stan Hema.

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage inter­cultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann. 

Dr. med. Reiter, Branding and packaging, 2019 — Upcoming organic cosmetic brand Dr. med. Reiter provides natural skincare for women during pregnancy. The visual profile takes cues from medical journals and is based on the graphic elements of the circle and vertical lines. The importance of transparency and safety is translated into a strong focus on text with all information placed on the front of the packaging. Concept and design with Timo Schmitt.

Dr. med. Reiter, Branding and packaging, 2019 — Upcoming organic cosmetic brand Dr. med. Reiter provides natural skincare for women during pregnancy. The visual profile takes cues from medical journals and is based on the graphic elements of the circle and vertical lines. The importance of transparency and safety is translated into a strong focus on text with all information placed on the front of the packaging. Concept and design with Timo Schmitt.

Die Entfremdung im Raum (“spatial alienation”), Book, 132 pages, 300 × 340 mm, 2017/2018 —  Developed within the frame of my bachelor’s degree in 2017 at the University of the Arts Berlin, the work was nominated for the IBB-Preis für Fotografie (Karl-Hofer-Gesellschaft and Investionsbank Berlin) and was subject of a solo show in the gallery space of Fotopioniere in August/September 2018. 

Die Entfremdung im Raum (“spatial alienation”), Book, 132 pages, 300 × 340 mm, 2017/2018 —  Developed within the frame of my bachelor’s degree in 2017 at the University of the Arts Berlin, the work was nominated for the IBB-Preis für Fotografie (Karl-Hofer-Gesellschaft and Investionsbank Berlin) and was subject of a solo show in the gallery space of Fotopioniere in August/September 2018. 

Die Entfremdung im Raum (“spatial alienation”), Book, 132 pages, 300 × 340 mm, 2017/2018 —  Developed within the frame of my bachelor’s degree in 2017 at the University of the Arts Berlin, the work was nominated for the IBB-Preis für Fotografie (Karl-Hofer-Gesellschaft and Investionsbank Berlin) and was subject of a solo show in the gallery space of Fotopioniere in August/September 2018. 

Die Entfremdung im Raum (“spatial alienation”), Book, 132 pages, 300 × 340 mm, 2017/2018 —  Developed within the frame of my bachelor’s degree in 2017 at the University of the Arts Berlin, the work was nominated for the IBB-Preis für Fotografie (Karl-Hofer-Gesellschaft and Investionsbank Berlin) and was subject of a solo show in the gallery space of Fotopioniere in August/September 2018. 

Die Entfremdung im Raum (“spatial alienation”), Book, 132 pages, 300 × 340 mm, 2017/2018 —  Developed within the frame of my bachelor’s degree in 2017 at the University of the Arts Berlin, the work was nominated for the IBB-Preis für Fotografie (Karl-Hofer-Gesellschaft and Investionsbank Berlin) and was subject of a solo show in the gallery space of Fotopioniere in August/September 2018.