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High-contrast fashion visuals created for my own fashion design projects, designed to translate garment concepts into a raw cinematic visual language. I developed the art direction, styling, composition, motion treatment, and AI-assisted visual workflow to create bold monochrome pieces with heavy grain, sharp silhouettes, and an underground editorial fashion aesthetic.
The network for creativity
Join 1.25M professional creatives like you
Connect with clients, get discovered, and run your business 100% commission-free
Creatives on Contra have earned over $150M and we are just getting started
Related posts
UFAB numericals + motion system for logo and numericals,
via Ebb Scandinavia.
The new logotype symbolized their mastery in CNC manufacturing.
Based on client feedback on early numeral explorations, I redesigned the set to feel coherent with the final logotype.
The numerals are now used on factory signage.
But the brand needed more ways to express smart connected manufacturing.
I built a motion system inspired by their CNC & measurement machines, where the same movement could carry across both letters and numbers.
This made the identity easier to extend without losing coherence.
Logotype: Ebb Scandinavia
Numericals: 1 AD, 1 designer (me)
Motion: me
Superb
The Editor Behind Every Story
Concept
For this reinterpretation, I imagined CapCut not as a tool, but as a lifelong storyteller—the invisible editor helping us make sense of the moments that shape who we become.
The film follows a young man who discovers a letter written by his 10-year-old self. As he revisits the dreams, expectations, and promises contained in the letter, he realizes that while life did not unfold exactly as planned, every experience, relationship, and memory became part of a story still being written.
CapCut is reimagined as the editor behind every story—quietly helping us preserve, connect, and give meaning to the chapters of our lives.
Creative Process
The visual development began inside CapCut Design Studio, where I explored references and inspiration from the existing asset library to establish the emotional tone and visual language of the film.
Using Design Studio, I generated the key still images for each scene, developing the characters, environments, and cinematic moments that would form the narrative. These images became the visual foundation of the project.
The generated stills were then animated and sequenced in Runway to create motion, allowing the story to unfold through a series of interconnected moments and memories. Throughout the process, the focus remained on creating an emotional journey that reflected the film's central idea: that every life is a story still being edited.
Final Message
Every life is a story still being edited.
You were never writing it alone.
CapCut — The Editor Behind Every Story.
Most websites tell you what a service does.
The good ones show you what it feels like to be inside it.
For Wilson's, the brief was to make invisible work visible.
Not through just copy. But through design as well!
Four steps in their process, the voice interview, the framework build, the intent signals, the outreach conversation, each needed a graphic that could communicate without a word of explanation. So I built four custom UI cards inside Framer from scratch.
Animated, brand-native, each one a small window into a real moment in the service.
No stock widgets. No imported assets.
Just the constraint that makes Framer work interesting: make it feel like a real product interface without actually being one.
Looks great!
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