Over 20 years creating emotion on stages, sidewalks, festivals, meeting rooms and inside a video game. Google, YouTube, Itaú, TAG Heuer, Avenue, Americanas, Snickers.
Here, each case is presented through the question that started it, not the brief that asked for it. Because the question is the one part of the work you cannot outsource.
I am a strategist, a creative and, above all, curious.
For over 20 years I have been turning behavior, culture, technology and business into ideas, methodologies and experiences.
I like to investigate futures, test new ways of thinking and build frameworks that help see problems from less obvious angles.
My work combines strategy, innovation and creativity to build paths that make sense today while already pointing to what comes next.
In the end, my work is simple to explain: understand the world better in order to create better ideas for it.
AI amplifies original thinking. It never replaces it.
Campaigns get a response. Rituals get people coming back.
Efficiency without intention breeds sameness. Less hype, more mental friction.
The political game that decides which ideas survive inside a company. Why brilliant people lose the room, and what nobody teaches about defending an idea in real time.
Creativity and judgment in a market where everyone uses the same AI and reaches the same answers. The machine accelerates those who already know how to think; those who let it lead simply deliver the average faster.
What Leonardo, Kandinsky and Van Gogh teach us about difficult clients, deadlines, scope and meetings. Every masterpiece had a brief and a negotiation before it became a masterpiece.
A reading of trends from SXSW: what is changing in technology and behavior, and what remains irreplaceable in creative work.
Strategy, planning, creative, marketing and innovation for promotions, benefits and loyalty programs across Latin America. Retail, banking, telecom, technology, food and services. Built the commercial narrative and proposals for major brands in Brazil and the region.
Digital school of creativity, strategy and mindset for an AI-assisted market, co-founded with a growth specialist and a neuroscientist. An eight-module core curriculum and the entry course Protocolo de Sala, on defending any idea to any audience.
Creative direction and strategic planning. Google, YouTube, B3, KLM, O Boticário, Avenue, TAG Heuer, EQI, Motorola, Ray-Ban, Claro, Danone. Led the 2023 and 2024 editions of YouTube Brandcast and the TAG Heuer tribute to 30 years without Ayrton Senna. Created TakeOff, a post-SXSW event that defined the agency’s new positioning.
An innovation, strategy and insights consultancy built in the middle of the pandemic, with 27 professionals working in a proprietary network model. Itaú, Mercado Livre, Almap, Leo Burnett, Africa, todos., TV1. Rebranding, sponsorship and experience consulting for Itaú, with over 90% improvement in earned media, and ESG strategy for Mercado Livre. 87.4% win rate in pitches.
Created and taught the courses Advertising in the Information Age and Multiplatform Communication Strategy, covering behavioral change, new technologies and purpose-driven communication.
MasterCard, Acer, Mundo Verde, Natural One, C&C, dr.consulta. Launched dr.consulta, from 4% to 78% awareness in 18 months. Brand platform and Brazil’s first branded content web series for Mundo Verde. Several eSports and gaming projects for Amazon, Twitch and Acer, and co-created the Prêmio eSports Brasil awards with TV Globo. Created DataLab, integrating planning, media and BI.
Business unit serving Coca-Cola, Chevrolet, Carta Capital and Cultura Inglesa. Coca-Cola LATAM promotions and integrated digital, experience and influencer campaigns.
Guardian of the Extra and Pão de Açúcar brands, responsible for branding, sponsorships, special projects, sustainability and the sports platform. Pão de Açúcar’s first institutional campaign in ten years.
Launch of Momentum Sports, reporting directly to London, for the World Cup and the Olympics in Brazil. Pitches won with FIFA, Coca-Cola and Garoto. Concept and activation of the 6 Hours of São Paulo, a round of the 24 Heures du Mans calendar.
Absolut, Passport, Pepsi, Hasbro, Pense Moda, MTV. Founded P.U.N.K. — Publicity Under New Knowledge inside the agency, a startup for positive-impact activation and cultural intervention in São Paulo, named among the most creative agencies of 2011 and 2012.
Promotions for Petrobras and Ferrero, activation for Philip Morris. In artistic production, stage direction and set design for Planeta Terra, GAS Festival, X-Games, Skol Beats and São Paulo Indy 300.
Treasury solutions for Globo, Net and Volkswagen. My first job, and the reason I have never been afraid of a spreadsheet.
Black Friday is exactly when retailers have the least time to listen to a platform. Inviting them to a product presentation was asking to lose.
It was also a year of permacrisis and collective anxiety about AI. So we stepped away from the traditional Black Friday black and proposed an illuminated Black Friday: instead of going dark, shedding light on people’s doubts.
The answer was to stop presenting and build a place. Each Google product became a physical, playful experience that retailers walked through with their bodies, from the PMax Bakery to the ball pit. Nobody went there to learn about the products. They went to live them.
Brandcast is the day YouTube speaks to the advertising industry. The problem is that everyone in the room already uses YouTube, already advertises on YouTube and already thinks they know what YouTube is.
In 2023 the answer was to remove the filter: O Puro Suco do YouTube (“Pure YouTube”), the platform with no intermediary, the way people actually watch it.
In 2024, instead of screening videos to recap the year, we put YouTube on stage. A search bar and a timecode sat in the foreground, as if the audience were looking at the interface. Inside it, performers, dancers and actors staged the platform’s biggest hits live. Two editions, two theses about the same brand.
Master sponsor is the most thankless position at a festival: you pay for everything and the crowd goes home talking about the bands. Nobody leaves Rock in Rio telling friends they stopped by the bank’s booth.
The answer was not a bigger booth, or a closed one. It was a permeable space, with no door and no line. The concept was the town square: anyone could walk in, sit in the shade, and the music happened at eye level with the audience, with no raised stage and no barrier.
The whole activation existed to put people at the center, not the brand. The bank became the place where the audience performed.
The Town was not Rock in Rio season two. It was a debut, in a city that considers itself too demanding to be impressed. Repeating the Rio playbook would have been the fastest way to look like a visitor.
We built a large corner LED panel, using the fold to create a sense of depth and three-dimensionality, with immersive art by Refik Anadol. Generative art on a festival corner, for a crowd that walks by without asking permission.
A brokerage that gives access to the US market sells something abstract: a distance that no longer exists. Hard to advertise, impossible to feel in a banner.
So the distance became an object. A tunnel of light installed on the street, with one end here and the other on the other side. Whoever walked by, walked through.
And to make a real international account tangible, we sold on that sidewalk what Brazilians buy most abroad, at foreign prices: iPhones at US$799, AirPods, Montblanc pens, Milka chocolate, Jo Malone candles, Fjällräven Kånken backpacks. Street marketing that hands out no flyers: it builds the metaphor at full scale and lets the city spread the image on its own.
Senna is Brazil’s most contested memory. Everyone has their own version, and any tribute risks becoming yet another replay of the flag on the victory lap. Three decades later, on a date of mourning rather than celebration.
The thread was the historic partnership between the brand and the driver. I developed the concept Icons Beyond Time, about the two things Brazil never lets grow old: the watch and the man.
The exhibition laid out a timeline of archive pieces, from the go-kart to the watches, remote-control cars, racing suits, helmets and champagne bottles. At the end, an all-white modern Formula 1 car received a video mapping that recreated, one by one, every car Senna ever drove.
Mass brands in gaming territory almost always fail for the same reason: they try to look native. They use the slang, sponsor the team, and players hear the accent in the first sentence.
Here the brand did not try to get into the game. It got into the game. Buy a Snickers, register the receipt, get a guaranteed Free Fire code; the first redemption unlocks an exclusive skin. No sweepstakes, no diamonds, no luck. The physical point of sale turned into an in-game item, all year long, nationwide.