I like making ideas work.
Creative background. Hands-on execution. Commercial experience.
About
Marketing & Communication — Project Coordination / Client Relations
I started out designing — brand identities, editorial layouts, social campaigns — and somewhere along the way became more interested in what sits around the work: the brief, the client, the people who have to agree on a direction and the ones who have to deliver it on time.
That shift took me from a graphic design studio into corporate communication, and now into a commercial role where I manage a client portfolio and sales targets end-to-end. What hasn't changed is the method: understand what's actually needed, get the right people and constraints talking to each other, make something concrete, and keep pushing until it's out in the world.
I'm still early in this, with plenty left to learn, and I like it that way — a real problem, a real deadline, and figuring it out with whoever else is in the room.
Outside of work, most of it goes into training — fifteen years of combat sports, these days Brazilian Jiu-Jitsu and amateur rugby — plus drums, taught to myself by ear, and early mornings split between a camera and a vegetable garden.
Selected work
Experience
Manages a ~160-client portfolio against a €250K annual target — 110% of quota in the Jul–Sep 2026 period.
Ran the editorial calendar, corporate events and international conference presence for an engineering/architecture firm.
Grew from supporting the Art Director into a client-facing role owning brand identity and social projects end-to-end.
Earlier
Ongoing side work for a handful of small local clients — social content, brand basics and the occasional shoot, run alongside the roles above since 2020.
Other work
I don't look back on the years spent as a visual designer as a detour from where I'm headed — they're the foundation for it. Wherever the work takes me next, the instinct stays the same: creativity first, everything else built on top of it.
Realtà e Immaginazione
Quasar Institute for Advanced Design · Rome, Italy · 2023 — 2024 · Team project
Context
During the Master's in Art Direction & Media Management, Quasar Institute handed our class of five a real brief: design the school's own admissions campaign — something that would actually run, not a simulated exercise for a grade.
Role & responsibility
This was five people building one thing start to finish, not five separate lanes. We split the work as it came up — surveying, writing, designing, presenting, revising — together, with three professors reviewing it along the way.
Approach
We started by asking rather than guessing — a survey of around 100 current students, looking for what had actually drawn them to a creative education. Out of that came one idea: that imagination, passion and the right training turn abstract ideas into something real. We built four headlines around it, one per program — "Crea la tua realtà," "Disegna la tua realtà," "Colora la tua realtà," "Modella la tua realtà" — carried by one consistent violet-and-pink visual system.
Output
Four campaign visuals and headlines, published by Quasar Institute as its own admissions campaign — see it live ↗.
Result
It's still up on Quasar's own channels, which mattered more to us at the time than the grade did — proof the idea held up outside the classroom.
Discover Monti Prenestini
via Laboratori del Brand · Prenestini hills, Italy · 2022 — 2025
Context
Discover Monti Prenestini is a slow-tourism project for three small towns east of Rome, built by Liminal Lab together with student researchers from MIT, Harvard and Cornell, and backed by Italy's PNRR recovery plan. Laboratori del Brand, where I worked at the time, ran communication and event organization with the towns themselves.
Role & responsibility
My part was the ground-level work: staying in contact with each municipality, organizing the events that actually brought residents, researchers and the project team into the same room, and keeping that communication moving alongside the studio's wider role on the project.
Approach
Three town administrations meant three sets of priorities and three timelines, on top of an international research team's own schedule. Less a single creative deliverable, more making sure the right people showed up, informed, at the right moment — and stayed engaged between visits.
Output
A published project — discovermontiprenestini.com ↗ — and a series of on-the-ground events with the participating towns.
Result
Three towns most tourism campaigns skip entirely got a real shot at being seen, backed by the academic and institutional weight of MIT, Harvard, Cornell and Italy's own recovery plan.
Mellini Garden
Sicily as a core value, starting with Franco Mellini, the founder. To represent the locale's geographic roots and character through the logo, we drew inspiration from a pomegranate flower.
Through a study of geometry, shapes, and balance, we created a distinctive, structured symbol with a "handmade" feel — just like the products of Mellini Garden. Four flowers, representing the four active family members, are oriented toward the four cardinal directions. For the font, we inherited the one from the patisserie (Atlantic Cruise), adjusting some proportions and seamlessly integrating it with the logo.
Excited about the branding work, I had the opportunity to contribute to the development of the interior design by creating a custom wallpaper — a blend of Sicilian decorative elements, exotic plants, and animals that comes together to reflect the essence of the space.
Osteria Saint Martin
Saint Martin is where traditional flavors meet culinary innovation. Locally sourced ingredients, sustainable practices, and a passion for exploration are the cornerstones of this experience.
The tree, an iconic symbol of the rural landscape where Saint Martin was born, perfectly embodies the philosophy behind it. By staying true to your traditions and following the right path, you can reach great heights — every success story, like every great adventure, starts with strong roots.
Non sai cosa ti perdi, finché non ti perdi
A competitive pitch built together with WOW Tapes for a public tender on Umbria's tourism promotion, developed around four pillars from the brief: an emotional, sensory-first narrative, an omnichannel rollout, flexibility across seasons and themes, and consistency with the region's "Cuore verde d'Italia" positioning. I worked on both the concept and the material itself, alongside the WOW Tapes team.
The idea, "Non sai cosa ti perdi, finché non ti perdi" (You don't know what you're missing, until you get lost), starts from what makes Umbria hard to pin down: it has no single cliché attached to it, no image it's already been reduced to. Getting lost among its villages, alleys and back roads is the best way to discover it — and even when you lose your way, you find something: a view, a taste, a memory in the making.
The visual language borrows from the travel diary — spontaneous analog photography, quick handwritten notes and small sketches — personal and immediate enough to travel across posters, video, social content and offline materials while staying recognizable as one story.
Journey
Journey is designed as a meeting point between a booking app and a social network. The app lets people book tickets, organize travel documents in dedicated folders, and, through a dedicated area, create digital "logbooks": bulletin boards where annotations, photos and more can be posted and shared. Beyond booking and organizing, users can turn their trip into a memory, share experiences, offer ideas for future trips, make friends and spark interaction.
The product grew out of a dedicated UX research phase carried out for my QIAD Master — interviews, journey mapping and information architecture that shaped the app before a single screen was drawn.
The pictogram is an abstract sign built from basic shapes. It symbolizes a North Star, inextricably linked to orientation in maritime and other traditions — and, taken individually, its two figures tell the story of two roads that, each on their own path, tend to meet in the middle. The typeface started from Helvetica, with spacing and body size adjusted to reach aesthetic parallelism with the pictogram, then carried into the app's own icon set.
Journey Means is the campaign built on top of that identity: the juxtaposition of text and image around one root headline, "Journey means," completed by a different word each time to shift the concept and the visual that carries it — Journey means love, Journey means adrenaline, Journey means sharing, and so on. The same declinations moved from social posts to street posters and back into the app itself, closing the loop between the brand story and the product.
Apple Fitness+
Apple Fitness+ is a subscription-based fitness service offering guided workouts led by expert trainers, seamlessly integrated with Apple devices. It provides a variety of workout types, real-time metrics, and personalized recommendations to keep users engaged and motivated.
Gamifying Fitness: Enhancing Engagement Through Playful Features — to make workouts more interactive and motivating, I introduced two key features to the app. The Challenges section allows users to compete in global Open Challenges or create custom competitions with friends, adding a social and strategic dimension to their training. The Wrapped feature provides a personalized monthly training recap, assigning each user a spirit animal based on their performance, making progress tracking both fun and shareable.
Additionally, the redesigned Profile section offers a clear overview of completed challenges and results, encouraging users to showcase their achievements. These updates transformed the app into a more engaging and dynamic fitness experience.
Eurovision x IKEA
Concept — capable of coming up with names impossible for the human mind and our ears (unless you're Finnish), we love the names of our furniture so much that we'd like to put them in a song — or more than one. What better occasion? To enjoy the Eurovision final together, we'll ask our followers to rewrite the choruses of the participating songs using our ridiculously Finnish names. The more you use, the better it sounds, the better it is. The top 3 (voted via likes) will win a €300 voucher and a Kallax, of course.
Goals — increase awareness and engagement on IKEA ITALIA's page on X, and generate traffic to the shop. KPI — consider reactions and retweets generated (to evaluate traffic to the shop, the number of visitors coming from X can be considered). Target — males and females aged 23 to 65.
U.G.C. — followers will be invited to modify the lyrics of the choruses we provide, using IKEA product names, with a winner being drawn from the most liked submissions. To kick off the game, we will post a tweet with an explanation and the rules, followed by our Top 5 before the festival begins. At this point, followers will simply need to comment on the tweet — the company's Twitter profile often uses similar solutions, always leveraging the product names, which makes it easier for followers to engage.
Editorial plan — 21/05/2021, 12 noon: contest launch via a tweet with rules and prizes. 7 p.m.: publication of the refrains with our Top 5 and renewal of the rules. During the broadcast: interactions with likes and responses to the most interesting and funniest entries. 01:00 am on 22/05: tweet announcing the contest closing. 12 noon on 22/05: tweet with the winner draw.
