Role: Brand &amp; Digital Designer (in-house) · Period: 2024 - Current · Tools: Webflow, Figma, Adobe Creative SuiteThe contextFuture Manager World is a B2B executive search and HR consulting firm operating internationally. Their positioning was premium; their digital presence wasn't. The website ran on an aging WordPress build that was slow to update, visually dated, and structurally unable to support the content the business actually needed. There was no blog, no job postings, no room to grow. On LinkedIn, their main acquisition channel, posts went out inconsistently and without a shared visual language.The gap between how the company sold itself in the room and how it looked online was costing credibility with exactly the audience it needed to reach.What I didRebuilt the brand foundation. Before touching the site, I defined new brand guidelines: a refined colour palette, a contemporary typographic system, and rules for how both behave across print, web and social. The goal was a voice that reads corporate and elevated without going cold.Migrated WordPress to Webflow. I chose Webflow for design flexibility and performance, and because it let a small team publish without a developer in the loop. I rebuilt the site structure from scratch rather than porting the old one: services were reorganised around how clients actually search, and I built two CMS collections that didn't exist before, an editorial blog and a job posting system. That turned the site from a brochure into an operating tool the business uses weekly.Redesigned the LinkedIn content system. I built a set of branded post templates in Figma and moved the page to a consistent publishing rhythm, so that content stopped being one-off design requests and became a repeatable system. Every asset came from the same visual grammar as the new site.ResultsComparing January to July 2025 against January to July 2026:Impressions: 46,542 to 52,344 (+12%)Click-through rate: 6.4% to 13.6% (+113%)The impressions lift was modest; the click-through rate more than doubled. That's the number that mattered, because the same audience was suddenly acting on the content twice as often. It's what you'd expect when the visual system and the message finally point in the same direction.<a target="_blank" rel="noopener noreferrer nofollow" href="https://futuremanagerworld.com" style="text-decoration: underline; text-underline-offset: 2px;">Visit website</a>

FMW: Brand & Digital Transformation

Type: self-initiated · Year: 2021 · Format: Bi-monthly print publicationThe contextPoint is a bi-monthly magazine for product designers, covering design history alongside contemporary work. The editorial challenge is specific: an audience of designers reads layout as content. They notice the grid. Anything decorative reads as noise.What I didI developed the layout system and editorial design strategy. It had to hold historical material and contemporary work in the same object without the two feeling like different magazines.Why it's still in my portfolioEditorial design taught me the hierarchy discipline I now apply to digital systems: deciding what the reader sees first, second and never is the same problem in a magazine spread and in a Figma component library.

Point Magazine

Role: Brand &amp; Communication Designer· Client: Singular Bank (in-house) · Year: 2024· Type: Client workThe contextSingular Bank operates two brands for two audiences that share a group but not a language: Singular Bank, for established high-net-worth clients who value discretion and track record, and Self Bank, its digital-first offer for younger investors motivated by growth and access. One tone couldn't carry both. Speaking to everyone would have meant convincing neither.What I didI directed the creative concept and visual strategy for a corporate video series that had to work as two distinct brand expressions without breaking apart as a group.The Singular Bank film was built for its audience: slower, more restrained, weighted towards trust and track record. The Self Bank film moved faster and lighter, closer to how a younger audience meets a bank, through a screen rather than an office.What held them together was the group's brand architecture and colour system, carried through both films so that each spoke to its own audience while still reading as part of the same house.Deciding where that line fell, what belongs to the group and what belongs to each brand, was the core design decision of the project.ResultsPerformance data sits with the client and isn't mine to publish.

Segmented Video Campaign — Singular Bank

Client: De Padova · Type: Academic project — Politecnico di MilanoThe contextThe Flusso Chair is a piece where the value lives in details most people scroll past — the joinery, the material, the line. In a feed, a chair competes with everything else at thumbnail size. The problem was translation: how do you make craftsmanship legible in 1080 pixels and two seconds?What I didI built a content system rather than a set of posts.Platform logic drove the split: a discovery surface where furniture behaves like a saved intention rather than a passing image.The visual language borrowed from luxury furniture editorial rather than from product.

Sonimar Mendoza