Paris • New York
01. Fans to Customers: Music & Entertainment
Social CRM, D2C Strategy, Fan Relationship, Artist Marketing, Retention
For twenty years, the music industry optimised for streams and reach. Labels built stores, lists and fan clubs, but the channel where fans spent most of their attention stayed a broadcast. Millions of likes, comments and replies disappeared into the platform, and each release meant paying again to reach people who had already engaged.
Working with Universal Music, Sony Music, Warner Music and Believe, alongside Live Nation and Paris La Défense Arena, the approach moved social from reach to relationship. Label accounts, artist accounts and owned media were rebuilt around the Instagram DM as a direct channel for launches, merch, ticketing and releases. Every conversation captures a consented contact, qualifies it, and feeds it back into the company's own CRM. The strategic argument was harder than the technical one: asking an industry built on distribution to measure success in customers rather than impressions.
What started as a pilot in one market is now running across several territories in Europe and North America, with the same labels rolling the model out country by country, roster by roster.
Explore the full story
02. Zodiac Nautic, bringing 130 years of French boating to America
Social CRM, D2C Strategy, Brand Awareness, Lead Generation, Retention
My grandfather was a sailor, so this one was personal.
Zodiac has 130 years of history and near-total brand awareness in France. Overseas, almost none. And the category itself is moving, as people rent boats instead of buying them. Two problems at once: a market that's changing and a reputation that doesn't travel.
We used the 130th anniversary as the hook and rebuilt the presence from the ground up. Repositioning, press and events, a creator and influencer programme, content production, social CRM and paid growth. High-funnel awareness in priority territories, feeding mid and bottom-funnel lead generation routed to Zodiac's retailer network. One system rather than six campaigns.
03. NDG Paris
Brand Building, Art Direction, Creator Strategy, Community, Wholesale
Started in 2014, at the golden age of Instagram. No ad budget, no investors, no network.
We built it the slow way, which turned out to be the fast way: organic social, word of mouth, fashion week showrooms, and a creator strategy years before anyone had a name for it. Zero to $1M in sales in twelve months, entirely on earned attention. Worn by Kylie Jenner, Future, Chris Brown, Bad Bunny.
Stocked at LuisaViaRoma, Revolve, HBX and more than 50 concept stores worldwide.
It taught me the thing I still build on: a brand people actually want comes first. Everything else is downstream of that.
04. Paris Saint-Germain
Art Direction, AI Production, Campaign Imagery
A club launches three kits a year, plus collabs, plus the content that has to follow each one. The traditional path is a shoot per launch: player time, a crew, a studio, and a calendar that never matches the product one.
With 3.11 LABS we trained custom models on the actual PSG players, then produced photorealistic imagery of them wearing the new third kit. Same faces, same identity, no session to book.
What it changed is the tempo. Campaign visuals in days instead of weeks, consistent across every format, at a production cost that lets a club tell the story of a kit all season long, not only on launch day.
05. Asics
Art Direction, AI Production, Product Imagery
A performance brand ships new colourways every month, and every one of them needs its own set of images, in every format. The shoot calendar never keeps up with the drop calendar.
With 3.11 LABS we produced the imagery generatively: the actual silhouettes, placed in light and environments designed for the campaign, without booking a studio, a set or a photographer. What used to be a production became a prompt and a retouch pass.
The gain is not only the cost. It is the range. Each colourway can get its own world instead of sharing one, and a launch can be told in ten images rather than two.