Switzerland is where my story begins, in the realm of classical typography. In Zurich, I completed my apprenticeship as a graphic designer at a small printing shop. After completion, I immersed myself in the world of advertising, fascinated by the perceived infinity of ideas and the transformation of these into reality.
My career took me from the strict world of corporate design to the flexibility of free-lancing. There, I learned the importance of keeping overview and orientation, which was of great use during my way through various agencies, production and post-production companies until I started my career as an assistant director.
I took my first steps as an AD in Zurich, then I ventured to Berlin. Even though my professional path may seem long and winded, all these experiences have proved useful to me over and over in my work on different film sets.
GUCCI
Lookbook 2025/26
Production – Farago Project & Production Pool
CEMBRA
Director –Stefano Caprile & Alejandra Cano
Production – Dynamic Frame
WINGO
Director –Johannes Bachmann
Production – MCQUEEN FILMS
SWISS – International Air Lines
Director –Lorenzo Monti
Production – MCQUEEN FILMS
BYREDO
Holiday 25
Production – Farago Project & Production Pool
GUCCI
Winter
Production – North SIX Paris & Production Pool
DIE MOBILIAR
Olympia
Director – Juliane Taudt
Production – Markenfilm Schweiz
MADE IN BERN
Bruno's Adventures - Winter
Director – Simon Willows
Production – Dynamic Frame
MIGROS – HOCHSOMMERN
Director – Maximilian Speidel
Production – Stories AG
MIGROS – DURCHSOMMERN
Director – Maximilian Speidel
Production – Stories AG
MIGROS – ANSOMMERN
Director – Maximilian Speidel
Production – Stories AG
TOYOTA – COROLLA
Director – Manuel Flurin Hendry
Production – Shining Film AG
TOYOTA – SUV
Director – Manuel Flurin Hendry
Production – Shining Film AG
TOYOTA – YARIS
Director – Manuel Flurin Hendry
Production – Shining Film AG
COOP – FONDUE
Director – Frank Nesemann
Production – Shining Film AG
COOP – RACLETTE
Director – Frank Nesemann
Production – Shining Film AG
SWISSCOM
Director – Caroline Wloka
Production – Lichtspiele
MC DONALD'S
Director – Yogi Parish
Production – Parish in Pictures
CEMBRA MONEY BANK
Director – Caroline Wloka
Production – Lichtspiele
SUNRISE
Director – Bernie Forster
Production – Alexander Szombath
BYSTRONIC
Director – Peter Beck
Production – Beck and Friends
PET-RECYCLING SWITZERLAND
Director – Caroline Wloka
Production – Lichtspiele
ADVOTE.CH
Director – Caroline Wloka
Production – Golden Eye Media GmbH
DISNEY, RESEARCH
Director – Caroline Wloka
Production – Disney Research
ROLLING STONES
Music Video, Florian Ast
Director – Caroline Wloka
Production – John Allen AG
PINA
Short film
Director – Florian Kasperski
Production – Milan Film AG
TE BERBERI
Series, Season 1
Director – Jyri Pasanen
Production – Network of Global GmbH
NEUMATT
Series, Season 3
Director – Cosima Frei
Production – Zodiac Pictures
MIND-BLOW
Series, Season 1
Director – Eric Andreae
Production – Shining Film AG
TSCHUGGER – DER LÄTSCHT FALLMIND-BLOW
Kinospielfilm
Directors – David Constantin / Johannes Bachmann
Production – Shining Film AG
TSCHUGGER
Series 2
Directors – David Constantin / Johannes Bachmann
Production – Shining Film AG
NR. 47, Series
Series 2
Director – Samuel Morris
Production – SRF
GOTTARDO
Director – Yogi Parish
Production – Parish In Pictures
ALIENIZE
Director – Henning Wagner
Production – DFFB
AGE OF IRON
Documentary Series
Director – Philippe Bérenger
Production – LOOKS FILM
One of the most important aspects of my work is to understand the vision of a project and to support it. Often this requires the synchronisation of the different viewpoints of clients, agencies, producers, directors and head of departments.
With my intimate knowledge of agencies as an art director, I understand the importance of neither ignoring the wishes of one party nor to be hampered by it. For example, the various aspect ratios, screen formats and languages are neglected in the planning of a shoot. To understand the technical specifications and the artistic possibilities and limitations allows me to plan for flexible, yet efficient workdays on the set.
I consider it one of my core responsibilities to have an open ear for all the unknown concerns that can arise during a film shoot. I commit to represent the project from the POV of the director and the production. Any film production can face challenges - the lingering question is always, how do we handle and transform a problem into an opportunity?
