A look behind the work. The Lab holds campaign concepts and early experiments before they become finished projects.
Some will become complete projects. Others will stay small. Each entry shows the idea and its visual potential, with a reason to pursue it.
Five concepts worth developing first. Each begins with a specific cultural tension and can support an entire campaign.
Ideas I keep returning to, from small objects to experiences that need a whole room.
24 SELECTED CONCEPTS
VAN CLEEF & ARPELS × GENEVA
“Wear the orbit. Hold the day.”
A floating orrery traces planetary motion across the lake. Colored spheres move above the water, with a second image shifting beneath them. The Van Cleef & Arpels concept brings its celestial subject into a public setting.
BMW × MARIO KART
“Every drift changes the track.”
Rainbow Road moves beneath electric karts without rebuilding the track. The responsive display follows each driver and carries the game’s visual feedback into the lap. I wanted the familiar course to feel different on the next run.
PRADA × VENICE
“Venice wears its own reflection.”
A mirrored runway sits at water level. Venice and the sky appear beneath the clothes, changing with the light. The outerwear has to hold your attention inside that reflection, which is the main design challenge of the Prada concept.
MIT TECHNOLOGY REVIEW × NASCAR
“See the air decide the race.”
Two cars share a wind tunnel. Smoke and particle paths show how one changes the air around the other. The demonstration gives drafting a visible shape and makes it the subject of the public campaign.
OMEGA × LOKI
“For all time. Always.”
A TVA-like chamber repeats the same ten seconds. You use a chronograph to find the instant the loop branches. The watch has something to do inside the story, which gives this Omega concept its reason to exist.
CLAIR OBSCUR × MAISON MARGIELA
“Thirty-three looks change across a vanishing canvas.”
White cloth changes as pigment enters the runway presentation. Erasure links Clair Obscur to Margiela’s interest in deconstruction. The material’s actual behavior would determine how the show unfolds.
SPOTIFY × THE BACKROOMS
“Build the playlist that gets you out.”
Your playlist changes the route through a Backrooms maze. Spatial sound helps you work out where to go. Inside those familiar fluorescent rooms, a small change in the music could be enough to make you stop and listen.
DIOR × VERSAILLES
“Cut light into couture.”
Moving sunlight catches threads and casts patterns through organza. A mirrored garden pavilion uses that light to show how Dior’s garments are made. The architecture has to give you a better view of the cloth.
IKEA × WANDA MAXIMOFF
“A room for every reality.”
Walk from one sitcom decade into the next. IKEA’s room displays provide the setting, with furniture and styling changing at each threshold. The domestic world stays familiar even as Wanda’s version of it shifts around you.
MOMA × WANDA MAXIMOFF
“Reach out. Unmake the picture.”
Reach toward the family portrait and it starts to come apart. Crimson light and moving threads follow your gesture through the image. I imagined the visitor deciding how far to take that unraveling.
LEICA × NASCAR
“Steel under heat. People under strain.”
Slow down and look at the people working around the race. Documentary photographers would spend time in the garages and on pit road, making black-and-white images of what the day leaves behind.
VOUGHT INTERNATIONAL / VNN
“Twenty-four hours inside the company line.”
You have a script. Read the company line, or switch to the leaked version. Vought’s immaculate broadcast frame surrounds the choice, and you decide which story reaches the camera.
I keep adding to this. Some ideas will grow into full projects. Others are useful because of the question they leave me with.
RETURN TO THE WORK →
