works.
mcdonald´s
"I'm lovin' it" gets the credit, but that's one campaign. Over five years I worked on close to 60 — TV, radio, print, OOH, online — and every single one had to win over a completely different kind of person. "Los Wochos" had to dare experimental men to see how much heat they could handle. Happy Meal campaigns had to make kids and families laugh. Salads Plus, fronted by Heidi Klum, had to pull women into stores who'd never think "McDonald's" for lunch. "Buy One Get One Free" had to speak to people counting every euro. Same brand, same golden arches — but never the same person twice.
Concept Work / TV / Radio / Print / OOH / Online
A pitch against the world’s top agencies, won by a small team on the edge of Munich. I was there—co-creator of the slogan, part of the campaign that turned into a global icon. 20 years later, it’s still at every airport. A Big Mac moment in my career.
monday.com
As lead German copywriter across monday.com's campaigns — from hero videos to landing pages — my job went beyond translation into full transcreation: restructuring copy, shifting tone, localising humour and cultural cues. Take one vignette showing an after-work beer at the office — right for a US shoot, wrong for almost every detail once it crossed into Europe. German corporate culture drinks that beer on the terrace, from sturdy bottles, not glasses at a desk. In France, it wouldn't be beer at all — it'd be wine, in small tumblers, never a proper wine glass. In transcreation, it's not about what's said — it's about how it lands. monday.com wanted to make a splash, not a translation error.
unicredit
Every bank campaign promises to be your enabler — "with us, you can make your dreams happen." UniCredit's "Let's Be Free of Maybe" starts somewhere more honest: most people don't actually say no. Or yes. They say "maybe" — because maybe buys time to postpone, it silences anyone pushing back without technically refusing them, and it never commits you to anything a "yes" would. The campaign doesn't sell freedom as a dream. It calls out the one word people hide behind instead of deciding — and offers a way out of it.
Concept Work / Brand Campaign
mercedes g-class
Why does anyone buy a G-Class? Not to go off-road — most owners will never see anything wilder than the Ikea car park. They buy it to feel like a pioneer, someone who needs the unreachable as fuel, even from behind a desk. So we wrote a radio spot that sounds exactly like an expedition diary: a man recording his thoughts at 6,600 metres on Nanga Parbat, the group arguing over which route to take tomorrow — Bazhin Gap or Silver Saddle. Only in the last line does the twist land: whichever route they take, he just hopes he finally gets to drive. It was never about the mountain. It was about the G-Class.
Concept Work / Radio / Audio Campaign
In Germany, Austria and Switzerland, ice cream was creamy — full stop. Brands like Cremissimo had taught an entire market that smooth meant premium, and anything you practically had to chew wasn't a treat, it was a texture problem. Ben & Jerry's was still an insider tip. So the headlines didn't argue against the chunks — they leaned all the way in: pure mouthfeel joy, print, OOH and online, paired with a wink at a very German instinct — if the secret recipe is "too much of everything," how could that possibly be bad?
Concept Work / Print / OOH / Online
she said
Every awareness campaign assumes the problem is information. It isn't. Shame, shock and pain make victims withdraw — often before they ever reach the police. This app meets them exactly there: in that same protected space, without fear of judgment, they can give a court-admissible statement to an AI voice that takes on the role of the officer recording the report. No station, no stranger, no re-living it out loud twice. I built the naming and narrative around that one insight: safety isn't comfort, it's the absence of pressure.
Concept Work / Naming / AI / Emotional Design
meetsbeaz
Nothing connects strangers like music — yet headphones exist to shut everyone else out. You've seen it: someone on the train, nodding along, tapping a foot, and you wonder — what are they listening to? MeetsBeaz answers that. One button lets you tune into a nearby MeetsBeaz wearer's headphones — like joining an open Wi-Fi network, but for sound. If they accept, you hear their exact song. Like it? Save it straight to your playlist. Better: you now have something to talk about with a stranger. I built this to prove creativity can live in a product, not just an ad.
Concept Work / Naming / Product Design
grabarz&partner
Grabarz&Partner never chased the spotlight the way Jung von Matt or Serviceplan did. What set it apart was quieter: it felt like a family, not a hierarchy. But "quietly excellent" eventually reads as "forgotten" — and the agency needed a fresh start without betraying what made it work in the first place. Participative Creativity became both the concept and the new CI: a repositioning built on the one thing Grabarz actually had that the giants didn't — a culture where every single person's contribution is what makes the whole thing succeed, not despite the collective, but because of it.
Concept Work / Rebranding / CI
for more work examples.
hamburg philharmonics
How do you get people to love classical music? To leave the house for a concert, in a city where it feels like it rains every day, for an orchestra that isn't even the most famous one in town? You make the concert impossible to ignore. We placed 100 musicians across the entire city, positioned exactly as they'd sit in one orchestra pit — each one free to watch and hear live, for free, wherever you happened to be. Conducted by Sarah Young from atop the Michel, every musician was filmed live and mixed into one performance, watchable on TV or online, so the full symphony only came together in that broadcast. Out on the street or at home, you got a piece of it either way.
Concept Work / Ambient / Live Broadcast
