LOOSE.fm


I founded and run LOOSE.fm, the sound + culture + community platform built for joy. 

Established in September 2021, LOOSE has over 500+ contributing global DJs and artists, and since July 2025, is based at London’s Design District, who also acted as an incubator for the project. 

Housed in a specifically designed, converted shipping container, complete with giant glowing eyes, this project is a landmark for culture, community and creative collaboration, hosting live shows, public activations and community-centric events, with a focus on platforming leftfield eclectic, experimental, ecstatic culture from the grassroots up. 

LOOSE is also a vehicle for my own creative leadership. I set the strategic vision, shape the brand, and direct all creative output: from the visual identity and programming strategy to partnerships, events and live content formats. I manage a team and lead a rotating community of contributors, providing framework, tone and momentum.

As the LOOSE platform grows, my role continues to be a blend of founder, creative director and cultural instigator: building a place where joyful, leftfield creativity can be seen, heard and celebrated, and proving the value of grassroots culture to the wider world.

Theirworld x The Observer: The Education Issue 


A simple idea: in a world where young people's media choices are fleeting and ephemeral, give permanence to their voices. 

Global children’s charity Theirworld and their Global Youth Ambassadors team were running a pilot project focussed on citizen journalism: ten young reporters from around the world documenting the education challenges in their communities through writing, photography, film and audio. The work would be shown online and at an exhibition during UNGA in New York in September.

I was briefed to develop the creative platform. It immediately felt that the online and event showcase was too temporary. It was clear these young voices demanded more cultural weight and permanence. A simple digital only experience wasn’t hitting the mark. With print media itself enjoying a revival, the answer became clear: a physical newspaper: The Education Issue.

Working in partnership with The Observer and Tortoise Media, we brought The Education Issue to life as a 28-page newspaper special, written and published by the Global Youth Ambassadors themselves. 

The Education Issue is now set to be an annual publication spotlighting education challenges worldwide. 

The project also gave the students bespoke training and one-to-one mentoring (with support from Pioneers Post) to capture stories of their lived experience and solutions.

The first edition launched during the UN General Assembly in New York, September 2025 alongside an exhibition of the content created by the contributors. 

All stories are available online at theeducationissue.org and, yeah - in newsprint.


Rubik’s: Adventure Every Turn


The iconic toy design classic Rubik’s needed a rebrand and a new creative platform to gain relevance with a new generation and an older, Gen-Z audience. 

Our idea, ‘Adventure Every Turn’, was to position the product as an essential tool to empower an audience who know they need to become the problem solvers of the future.

A key creative insight came when we recognized that you could reduce the product to its bare elements - the 6 colours, the curved corners, the blackness, the specific amount of padding between squares - to heighten its iconography. 

So we took a minimalist approach to visual properties of the cube to create a brand book, an influencer toolkit, social content assets (organic and paid) and POS to refresh the Rubik’s story and inject new life into a nostalgic classic. 

The influencer toolkit was a key part of the activity. Cubers (Rubik’s Cube fans and speedcubers) are a large creative community across social media so we provided them with graphics (static and motion) to elevate their content. The community really embraced Adventure Every Turn. 

Results were strong: 

  • 70% increase in new followers
  • The hashtag #AdventureEveryTurn drove 9.5M views across social media
  • Solve Stories drove over 4.2M impressions, 2.2M reach
  • Generated 9.5k clicks to Rubik’s Solve Guides
  • Increased traffic to rubiks.com +289% during campaign period

What’s more, the Rubik’s brand went on immediately after the campaign end to be acquired by Spin Master, the Canadian toy manufacturing giant. It transpired that the objective of the brand refresh was to drive a license acquisition, so... mission accomplished.  


Too Dark?: Fanta Western Europe


Over three years, I led the creative direction and strategy for Fanta’s new Halloween charter across Western Europe, turning Halloween into Fanta’s Christmas and establishing the brand as the drink of the scary season.

The third chapter was the darkest. We introduced Fanta Dark Orange through a provocative creative idea exploring the boundaries of fear and taste.

Every lens pushed technical limits on Snapchat, including Face Peel, Demon, Smoky Ghost, and an AR creature on pack... all these were Snapchat technical firsts. 

The campaign was supported by social films I directed for Snapchat and Instagram, drawing on cultural tropes from the horror movie genre, and amplifying the sense of transgression and identity-play that teens crave at Halloween. 

Too Dark? capped the trilogy with a sustained 9% sales uplift and deep brand–occasion linkage, alongside our earlier successful seasons (Distort Reality and Fantamorphosis) helping cement Fanta’s ownership of Halloween among teens to deliver consistent commercial growth across Western Europe. The 3-year programme also became one of Snapchat’s most successful branded activations ever and set new creative–tech standards for the platform.

This finale was shockingly effective: brand, culture, and technology transmogrified and mutated to make Halloween Fanta’s own.



    Young’s Pubs: The Rugby Love 


    I lead the strategy, creative, and wrote the film script, for Young's pubs to herald their "Year of Rugby", encouraging fans to view their venues as culturally relevant places to enjoy the big tournaments. 

    The idea, The Rugby Love, explores the sport's deep bonds and the communities its crosses, from grassroots to the international level, connecting the pubs with people who gather to cheer on their teams to lead a fundraising initiative for rugby-associated charities including The Wooden Spoon, Wheel Chair Rugby, Maddy’s Mark and The School of Hard Knocks. The target was to raise £150,000 in the year, and was well surpassed by reaching £200,000. 

    You could also buy a pint of limited edition Drop Gold ale, donating 20p on every pint to the cause. The delicious beer was served in a glass adorned with our rugby balls/heart logo (ideated by myself, designed by Tim Ash), which also made an ideal Valentine's gift for any rugby loving life partner. 

    Getir: The Hand of Getir


    Rapid on-demand grocery delivery service Getir required an idea to level up their performance marketing assets that would cut through the crowded rapid grocery delivery sector and trigger a spike in app downloads.  

    We devised a content series tailored for urban audiences, showcasing relatable scenarios that require groceries delivered in minutes. 

    In each scenario The Hand of Getir would stage a helpful intervention arriving in an instant with items to fulfil a consumer’s specific grocery need, dramatising the speed and convenience of Getir's service. 

    The series featured an array of outputs, such as short films, animations, and photographic content, all produced to capture the audience’s attention and drive app downloads.

    How did the campaign do? Getir left the UK market shortly after appointing us, just while we were delivering this first campaign, so sadly we’ll never know... 

    Fanta Western Europe, FANTAxYOU


    How do you make a brand relevant to an audience that can spot a faker in seconds? That was the challenge Fanta handed us, and it became a three-and-a-half year creative partnership built from one simple idea.

    Fanta is one of the world's most iconic brands. But at the time it was failing to recruit teens and showing significant year-on-year volume decline. Teens were more sophisticated than ever, building their own worlds at the intersection of digital and IRL, mixing and remixing culture into their own lexicons. By the time most brands caught up, teens had already moved on. I also saw a wider cultural shift: collaborations between brands and artists, sportspeople and influencers were becoming the dominant creative currency.

    So I created FANTAxYOU. A UGC collaboration between Fanta and its audience. An open invitation for teens to co-create across every aspect of the brand, on the platforms they already loved.

    My involvement extended into the overall digital strategy, leading the Halloween charter, building the always-on social content strategy, producing a market roll-out toolkit, and a range of other activations.

    Always On

    The first move was creating a content library for local European markets to populate their social channels under #FANTAxYOU. The strategic principle was simple: make it look like it was made by you. Lower the production threshold so that Fanta's content resembled something a teen could make themselves, modelling the idea that the brand was in the hands of its audience and inviting them to get involved. Over two years I led the creation of hundreds of pieces of silly, lo-fi content. Professionally produced, of course, and always within brand guidelines, hitting product and brand messaging. But it never looked like it.

    I covered calendar moments, whimsical micro-campaigns, and everything in between. In practice, I also learned that genuine UGC was often difficult to repost on Fanta's own channels, for legal or brand communication reasons. The lo-fi content served to set the tone and create the conditions for larger, more controlled UGC campaigns across the calendar.

    Results, after year one

    Ad relevance up 54%. Ad persuasion up 59%. Teen penetration rose 3.3% across all 12 European markets. Volume sales up 3.7% year-on-year. FANTAxYOU generated over 92 million social impressions and tens of thousands of pieces of UGC. We had doubled our objectives.

    Footnote

    The French Fanta team made a YouTube reality show out of FANTAxYOU: videomakers living in a house, coached to make adverts for Fanta, with the winner shooting the Halloween TV commercial for France. It went well enough to run for two sequels over three years, generating minor controversy, clapbacks and parody versions. I only recently discovered this. I'm delighted.



    Coca-Cola UK & Ire, 
    ‘This One’s For’


    I led "This One's For", a year-long social-first campaign for Coca-Cola aimed at making the brand feel more relevant in Gen Z's everyday life and giving them a stronger reason to reach for a Coke.

    The strategy positioned Coca-Cola as a reward for micro-achievements: the small wins that help you edge towards something bigger. In what was then a proto-influencer co-creation model, I recruited talent the audience would genuinely connect with across music, sport, gaming and fashion, including then-emerging artist Raye, future Olympic BMX medallist Kye White, and UK surfing champion Lucy Campbell.

    The core tactic was co-created staged social ads showing each influencer completing a micro-achievement and rewarding themselves with a Coke, followed by organic content on their own channels about what micro-achievements meant to them personally.



    Coca-Cola Global, 
    ‘Covid Christmas’


    How can we forget the Christmas of 2020? A Christmas like no other. The future was uncertain, the world was in and out of lockdown and enforced social distancing was still the norm. 

    Coca-Cola's Christmas campaign led with the idea 'The Greatest Gift You Can Give This Christmas Is Yourself'. We were tasked with creating a market toolkit for a digital content experience targeting Gen Z that amplified the message and could run through December. Working from the insight that the audience still wanted to celebrate Christmas through new technology, we created the Lockdown Christmas Calendar, 'Magical Surprises to Share Every Day This December'. A daily door of playful content, distributed through social media, designed to inspire sharing something personal with loved ones, even if you couldn't be physically present.

    These shareable messages took the form of Snapchat lenses, digital stickers and screengrabbable animations. Each piece of content referenced a sweet cultural truth about Christmas, or the collective strangeness of that particular December. Some were greetings, some were social promises. To maximise the value of the content, we worked to a twin policy of surprise and variability. You never knew what was behind the door, and much of the content had a roulette of multiple outcomes. You never knew what you were going to get.

    The look and feel presented its own challenge. We needed visuals that would resonate culturally but also make stylistic sense alongside Coca-Cola's 1930s Santa illustration, within a strict red and white palette. The breakthrough came when we realised we could borrow from animation and illustration styles that were monochrome and shared roots in the 1930s: a mash-up of American rubber hose and Japanese chibi, with a hint of manga speed-lines. 

    We also created a suite of digital stickers for decorating your photos, with warm, fuzzy and tongue-in-cheek messaging, some referencing the strange circumstances of Christmas 2020.

    The toolkit went truly global, picked up and activated across 19 markets: Germany, Russia, Spain, Portugal, Georgia, Nigeria, Greece, Serbia, Switzerland, Sweden, Kazakhstan, UK, Belgium, Lithuania, Croatia, Azerbaijan, Netherlands, Slovenia and more.





    Sprite, Fresh Yourself


    I was briefed to help Sprite launch its new global brand identity and creative platform, "Fresh Yourself", across Western Europe. The platform had a clear idea at its core: encourage teens to cut through the noise of modern digital life and stop overthinking.

    The Western European rebrand gave yellow equal footing alongside the historically dominant Sprite green. I led the visual design, motion design and asset creation to celebrate the new pack and product, alongside a content series to amplify the Fresh Yourself idea.

    I also led a suite of social and promotional content marking Sprite's transition from green to clear plastic bottles, a move that made the product significantly easier to recycle.