The urge to create, arrange and make things beautiful was there from the beginning. As a child, I had an instinctive ease with drawing and painting, often surprising my teachers and parents with how realistically I could render things. That same curiosity extended to crafting jewellery and making tiny objects for Barbie. I was just as drawn to documenting life: at nine, I was given my first diary, and I never really stopped writing. Over the years, that became dozens of notebooks filled with memories, observations, stories and streams of consciousness.
As I got older, that instinct moved into the digital world. I became absorbed by image editing, taking photographs of friends and experimenting with cutting them out, changing backgrounds and building new scenes. I spent far more time building houses in The Sims than actually playing the game, and later became fascinated by the possibilities of 3D animation after seeing the early Pixar films.
Throughout school, I was deeply drawn to art and art history, and for a long time architecture felt like the clearest way to turn that passion into a life. I wanted to build worlds, even if I didn’t yet have the language for what that meant. Studying Industrial Design within the Faculty of Architecture in Florence expanded that idea, opening it into products, interiors, visual communication and the many ways an object, space or experience can be conceived.
Moving to London opened that thinking up even further. During my MA in Applied Imagination at Central Saint Martins, I became increasingly interested not only in what creativity could produce, but in what it could do: how it could connect people, influence perception and create meaning. My final project, Creative Connectedness, took that question beyond the classroom through a series of real-world gatherings and experiments centred around creativity as a shared practice.
What followed was a very different kind of education. I spent several years working across branding, digital experiences and art direction, progressing to Creative Director at a London-Berlin tech start-up before joining Amazon. There, I worked across Prime Now, Fresh and Whole Foods Market, developing campaigns for international audiences and learning how to carry an idea from its earliest concept through to a cohesive expression across multiple formats.
By 2019, though, I felt the need to explore creativity outside the demands of constant production. I stepped away from corporate life and gave myself permission to follow my interests more freely. That brought me back to photography, interiors, styling, places and a slower, more observant way of working.
Design taught me how to construct an image. Photography taught me how to notice one. Over time, I realised the two were never really separate. The same sensibility that once led me to develop a brand, an interface or a space is the one that now draws me to the relationship between light and architecture, the rhythm of objects on a table, an unexpected colour pairing, or the atmosphere of a place before I even raise the camera.
Today, those threads come together in work that moves between creative direction, image-making and design, bringing a trained eye together with intuition and a particular sensitivity to how something feels as a whole. Whether I’m developing an idea for a brand or photographing somewhere I’ve never been before, I’m ultimately interested in the same thing: creating a point of view that makes people look a little closer and feel something.