Under Armour's first Up Next class put eight high-school athletes in the spotlight before the national stage caught up. We shaped the campaign narrative, built the visual world, and directed content that let each player own their story — from Canada's Finest to DMV Made. This wasn't stock athlete content. It was identity work at the speed of culture.

He came to us before the mask. Before the name. We sat with the vision and built it from the ground up. The identity. The aesthetic. The world around the music. What he became after that belongs to him. But that first breath came from our room.

A DMV voice at the center of a global platform. Kelow LaTesha had the music, the presence, and the credibility — what she needed was a visual language that matched the weight of what she was saying. We built it. Then we positioned the SoundCloud partnership not as a sponsorship but as a cultural statement. This wasn't a brand deal. It was a spotlight on someone who deserved one.

Vol. I proved the concept. Vol. II expanded the world. Throughline is an experiential series built on one belief: culture is made in rooms, and the room shapes what's possible inside it. We designed the architecture, directed the environment, and produced an event that people talked about long after they left. More artists. More spatial complexity. Same intention — to make everyone in the room feel like they were exactly where they were supposed to be.

The Comfort Capsule collection asked for softness with structure — domestic intimacy shot like cinema. We built a world around cream, corsetry, and quiet tension: four vertical films and a stills suite that treated Hanifa’s pieces as characters in a room, not products on a pedestal.

The Tournament of Nations was already happening. What it didn't have was infrastructure. In 2024, ABDXTROUS built basketball-themed activations, curated an outdoor art gallery showcasing Afrocentric and basketball-themed work from local artists, and brokered a collaboration between two Nigerian-owned streetwear brands — Riveriswild and Mingo by Domingo — to design custom basketball jerseys for every African country in the main tournament. Those jerseys doubled as merchandise the public could buy to support their teams. They carried over to 2025. By year two, we'd scaled the operation — managed a larger team, offloaded the deliverables we'd been carrying alone, and focused on designing and directing. Basketball and music. Culture takes the court.

Culture in a field. AFRO+ Fest brought a community together — and we helped shape how it felt on the ground: experiential activations, brand moments, vendor flow, and production that kept the energy moving from open to close. Not spectators. Partners in building something people could feel.

Blue light. Water on the runway. Hanifa FW22 was already spectacular — the design, the vision, the world Anifa Mvuemba had built. Our job was to be worthy of the room. We directed the campaign film with the same intention the collection was made with: deliberate, atmospheric, and built to make you feel the weight of what you're seeing.

Ocean air and intentional silence. We stripped everything back — minimal set, natural light, clean composition — and let the subject breathe. Styling that felt lived-in rather than constructed. Creative direction that trusted the talent in front of the lens. Sometimes the most powerful thing you can do is get out of the way.

A milestone. Ten years. The Inner Circle deserved a room that matched the weight of that number. We designed the environment from the ground up — lighting architecture, spatial layout, set construction — building something that felt like a celebration but carried the gravity of a decade of work. When the lights came on, the room told the story before anyone said a word.

Two worlds colliding — Foggieraw's raw underground energy meeting the mainstream spotlight of Heidi Klum. We built the visual bridge. Creative direction that honored where he came from while making the case for where he was going. The result was an editorial that felt neither forced nor familiar — something entirely its own.

NPR's Tiny Desk. IDK. Levi Strauss & Co. We handled the visual direction for the entire set — every person on camera in Levi's. The leather jacket. The denim. The red bandanas. Nothing was accidental. What you see in the video is what we built in the room before they pressed record.