Brand problems, solved with strategy, not decoration.
Thirteen years of campaigns for Coca-Cola, Nestlé, Samsung and telcos across South America and Asia. Now in Taipei.
Mirage Festival
- Mirage
- 2026
- Festival marketing
- Content system
- Meta Ads
- Notion
Role: Marketing & Content Lead (retained)
Mirage is a three-day electronic music festival in Taiwan. 2026 was only its second year, and outside a small circle almost nobody had heard of it.
When I joined in late May, ticket sales opened in a week and there was no marketing plan. The brand looked great, but nobody had decided what to post, when, or why. The budget was close to zero, and the people running the accounts were not marketers.
I was brought in as Marketing & Content Lead (retained) to build the plan, make the content, and sell tickets.
Week 1Phase 1: Strategy
I started with research. How other festivals in Asia sell out, what Taiwanese creators post, and how people here decide to buy a festival ticket. The short answer: they buy in groups, they wait for their friends to commit, and they buy late.
That research became a 24-slide strategy deck I presented live to the organizers. One idea for the whole campaign (“It was real. It was all yours.”), four content pillars with one job each, an Instagram plan built around Reels, and a launch plan for the night sales opened.
The team was small, so I designed the content to be shot in batches. One shoot day could cover a month of posts.
June to SeptemberPhase 2: Content
I wrote the scripts, co-produced the videos, and directed the team on set.
The DJ intro series covered all 36 artists, 28 local and 8 international, grouped into five themes. Each theme had its own question script. I built the whole series into the team's Notion so everyone could see who films what, when it goes out, and what it says.
“This is Mirage” was the main brand Reel. It reached 148,000 accounts and got over 1,000 shares.
Mirage Voices was a set of short artist interviews, released in the last week before prices went up. The Dungi and Code Wu episodes were the two most-liked posts of the year.
Every price change got its own post. These were shared more than anything else on the account: a typical price post got 214 shares, a typical partner post got 6.
I also set up and ran the festival's Meta ad campaigns, which brought 25,000 clicks to the ticket page at under NT$1 per click.
3 monthsResults
Buyers flew in from Europe, the US, Australia, Hong Kong and Thailand.
What the buyers told us
After the festival I built a buyer report from the raw order data: who bought, when, and what made them do it.
Sales came in three waves, each one in the days before a price change. On a normal day, two tickets or fewer.
Half of the online buyers waited for the last 30 days. One in three tickets came in a four-person group pack.
The best sales week started the morning after a creator posted about Mirage. The price deadline fell in the same week, so I can't say which one did it. Probably both.
The ads got plenty of clicks but no clear rise in sales. The two best days in August had no ad running at all. So for 2027, no ad money until a click can be tracked to a ticket.
The report ends with a 2027 plan built around the three price deadlines, plus a live page the organizers can use to set ticket targets and check progress each week.
Temporary Truth Creative
- TTC
- 2026
- Content strategy
- Reels
- Positioning workshop
- Meta Ads
TTC had an Instagram account with under 800 followers and no strategy behind any of it. Content went up when someone had time, most videos were getting under 1,000 views, and there was no logic connecting what they posted to what they were trying to build.
For a company doing commercial work for Riot Games, ASUS, and Adobe, the gap between what they made and what anyone saw of it was the a problem.
I was brought in to close that gap with Social Media as the main channel.
First 30 DaysPhase 1: Social Media
I defined TTC's main niche as video production for brands, identified five sub-niches through competitor and market research (commercial production, social media video, photography, production techniques, and brand storytelling) and built a five-pillar content architecture from that foundation.
Each pillar has a specific job:
- Case Studies drive value and trust
- Reactions build likability
- Trends generate reach
- BTS shows authenticity
- HQ demonstrates craft
I built the monthly production workflow, defined the case study format the team shoots to, write the scripts, direct the editors, and QC all output before it goes live.
Days 30 to 90Results
The account went from under 800 followers to 3,826.
What I also built
Alongside Social Media, I built a positioning refresh workshop with the full TTC team to align the company on a single strategy document.
Olympic Park
- Coca-Cola
- 2017
- Copywriting
- Concept
Role: Concept and copy
The Deadline
Three hours to create a print ad for the Olympic Park inauguration in Paraguay.
The Brief
Capture the Olympic spirit. Tie it to Coca-Cola's campaign that year: "Sentí el Sabor" (Feel the Flavor).
The SolutionOlympics aren't about watching. They're about participation. Being part of something bigger than yourself has its own taste.
The Line"Being part of this achievement has a unique flavor. Olympic Park Inauguration."
My RoleConcept and copy.
The ad worked because it connected national pride to personal experience. Paraguay had just built an Olympic Park. Coca-Cola made it about everyone who showed up, not just the athletes who'd use it.
Three hours. One message. Done.
Translation
Being part of this achievement has a unique flavor
Olympic Park Inauguration
RaceArt brand book
- RaceArt
- 2026
- Brand strategy
- Brand book
- Tone of voice
- Visual identity
Strategy
RaceArt is a streetwear brand rooted in street racing culture. The brand book gives the team one system to decide with, written for people who know the scene and would spot a fake.
Missionthe moment of total commitment at max speed, when only you and the road remain. Values: precision, commitment, authenticity, culture.
Voice
RaceArt does not explain itself to people who do not already understand.
Short declarative sentences. Active voice. No exclamation points. Facts over feelings. The book shows compliant and non-compliant copy side by side so the boundary is clear.
Visual identity
Logo rules for gradient and solid use, minimum sizes and placement. Palette: Robin Egg Blue and Green Yellow for the signature gradient, Outer Space as the dark, Emerald for single-colour use, each with RGB and CMYK values.
TypeBig Noodle Titling Oblique for headlines, Futura Heavy for subheads, Arial for body, documented through real product announcements.
Photography
The hardest chapter. Disposable camera grain, sodium vapour and fluorescent light, gas stations and parking lots, JDM cars, casual framing. Shoot meets, night gatherings and convenience stores. Avoid studios, bright daylight, fashion poses and staged product.
People interact with the cars and the place. The clothing sits in context, never as the subject. That is what separates RaceArt from brands that use cars as props.
What the book refuses
Most guidelines try to control everything. This one sets a few hard constraints and leaves room to create. RaceArt is defined by what it will not be: polished, explanatory, desperate for approval, disconnected from the culture.
The Only Football You Can See
- Tigo
- 2019
- Campaign
- Copywriting
- Sports
The Setup
Tigo owned the broadcast rights to Paraguay's National Football League. Their competitors, Claro and Personal, didn't.
The Twist
We turned their competitor's names into the punchline.
In Paraguay, "Claro" means "clear" and "Personal" means "personal." So we asked:
Is it CLARO? You can only see football with Tigo.
Don't take it PERSONAL. The football league is only on Tigo.
Then we showed what happened when you tried watching football with the competition: Chrome's offline dinosaur page. The visual said everything without saying anything.
My Role
Creative concept and campaign strategy.
The campaign worked because it did something most telecom advertising doesn't, it had a sense of humor about the competition while owning the one thing that mattered: exclusive access to the games people actually wanted to watch.
Translation
The first translates to: "Is it CLEAR right? You can only see football with Tigo"
The second"Don't take it PERSONAL. The football league is only in Tigo"
Friendship Day
- Sprite
- 2017
- Video
- Social
- Copywriting
The Truth
Everyone has that one friend stuck in the friendzone. The one who's always there but never "there."
The ApproachLatin America celebrates Friendship Day, a holiday built on recognizing the people who matter. Sprite's campaign that year was "Things as they are," calling out uncomfortable truths people usually dance around.
So we made a video about the friendzone. Direct. Honest. The kind of thing everyone knows but nobody wants to say out loud.
The Line
For you, who are loved 'as a friend.' Happy Friendship Day.
My Role
Concept and copy.
The video worked because it acknowledged what Sprite's audience already felt. No sugarcoating. No pretending friendship always means what we want it to mean. Just the truth, delivered with the brand's voice.
Translation
For you,
who are loved
"as a friend"
Happy Friendship Day.
Where I have worked
| Marketing and content lead | Mirage Festival | 2026 |
|---|---|---|
| Strategy and growth consultant | Temporary Truth Creative | 2026 |
| Creative and brand strategist | Compound | 2023-2026 |
| Digital media consultant | Radio Taiwan International | 2021-2023 |
| Creative director | Ariadna | 2019-2020 |
| Senior digital creative | WILD FI | 2018-2019 |
| Senior creative copywriter | McCann | 2016-2018 |
| Creative copywriter | Publicis | 2014-2015 |