A SELECTION OF WORK CURATED FOR FORTUNE MEDIA
I've organized this around the capabilities and leadership responsibilities I think are the most relevant to this role.
While many of these examples come from industries outside financial media, I would encourage viewing them through the lens of strategy, systems thinking, audience engagement, and organizational leadership as much as the final creative execution. I think the through-line of my career has been helping organizations navigate change, building a cohesive brand across channels, and creating design systems that scale.
01/ EVENTS & EXPERIENCES
For B Capital, Eduardo Saverin’s global venture capital firm (if you need a reminder, he was played by Andrew Garfield in The Social Network), I designed their annual investor events in both New York and Singapore. Unlike my role at Virgin Voyages, where I oversaw agencies delivering large-scale experiences and events, this work allowed me to be hands-on in building the design system—from conference identity to signage, table cards, badges, presentations and event swag.
I love pinging between directing at scale and working at a detailed execution level. Doing one makes you better at the other.
For the 2024 AGM, I developed an event identity built from the B Capital forward arrow. The four carets converging toward one another represented a global gathering of investors coming together in one shared forum.
The system extended across all touchpoints: I designed supporting marketing materials using a large-scale arrow motif set against imagery of the firm’s key global offices, and carried the mark through the physical experience as both wayfinding and a unifying design element throughout the conference.
02/ 360 MARKETING
For Convene Hospitality Group, I developed a 360° campaign promoting two flagship locations in San Francisco and Chicago. The work spanned out-of-home, digital, and social platforms, as well as event marketing for both launch activations.
The campaign positioned Convene as a luxury brand within the category. I wanted the creative to convey the same spaciousness found in the physical environments—it was a digital expression of the experience. As the company’s first fully integrated 360 campaign, it not only helped differentiate the brand among its competitors, but the sales team reported stronger brand recall with prospective clients.
03/ APP DESIGN & UX
I oversaw the design and UX across the Virgin Voyages digital ecosystem, including the app, in-cabin tablets, and onboard large-format kiosks.
Each channel had its own objectives. One critical challenge was pre-boarding registration, a well-known point of drag within the cruise industry. The more sailors who completed registration within the app before arrival, the less staffing and operational support was required on embarkation day.
We leaned into Virgin’s playful brand personality and gamified the registration experience within the app, making progress feel more rewarding and engaging. The result was a meaningful increase in pre-boarding completion rates and reducing day-of operational pressure. I know this doesn’t seem like a lot, but there were genuine real world benefits from what we accomplished in all our digital products.
While the specific challenges differ from those at Fortune, the underlying approach is consistent: identifying friction in the customer journey, simplifying complexity, and using design and behavioral insight to improve both experience and performance. At Fortune, I would apply the same lens—rigor is the muscle I bring.
04/ BUILDING A CONTENT STUDIO
When I joined Ralph Lauren, the e-commerce group relied on an external production partner for photography and video assets. As digital channels began to accelerate—with the rise of social media, mobile commerce, email marketing, and the increasing content demands of ecommerce—it became clear that the existing model could not scale to meet the needs of the business.
Over the course of three years, I led the development of Ralph Lauren's first in-house digital photo and video studio, ultimately transitioning production work from an outside vendor to an internal creative capability.
The result was our ability to control our creative output, output more, and all for less.
While the visual language of Ralph Lauren stands in complete contrast to financial media, the underlying principles remain highly relevant: good taste, rigorous brand stewardship, efficient workflows, scalable creative systems, and unwavering consistency across every touchpoint.
05/ BRANDING
Propel Partners, a venture spin-off from the Ashkenazy family office, engaged me to develop its brand identity. The scope included naming, typography, color palette, digital expression, and print applications. I was responsible for all creative concepting and execution. The following was my presentation of the first round of my creative exploration.
This work is relevant because Fortune has an opportunity to build a more robust design system that includes recognizable elements that scale across events, digital products, and media platforms—making every touchpoint unmistakably Fortune.
