Launches and campaign stories I planned, briefed and ran end to end, measured against the account's own averages.
A 21-piece Monaco capsule, launched tease-to-sustain across Instagram and TikTok with BTS off-moments and self-filmed fit checks. I built the rollout, briefed the content, edited it and published it.
The announcement's engagement rate against the account average. FRAME's most successful campaign to date.
Binocular teaser on IG and TikTok. "Très bientôt."
View post on Instagram ↗Collab post with Alexandra; gifting, press and the waitlist go live.
View post on Instagram ↗Stills, vignettes, Alexandra's Monaco, the pre-event shoot.
View post on Instagram ↗Hero video at 9AM ET; every channel and affiliates live.
View post on Instagram ↗Casa Tua Miami, the F1 paddock, BTS, and a focus on The Leo.
View post on Instagram ↗Campaign images and videos © FRAME, shown here as portfolio work. Each one links to the original post on FRAME's Instagram or TikTok.
Her favourite places in Monaco, from the back seat. Edited by me.
View on TikTok ↗
Tease at the bottom, sustain at the top.
Monaco from the set: the flag, the façades, the sea. Edited by me.
View on TikTok ↗A collaboration that sold out, then relaunched for a 4,000-person waitlist. I set the strategy and rollout, planned and shot the content, edited and posted it, and ran the gifting that turned into organic creator posts.
TikTok engagement against the account average, on FRAME's most viral product on the internet.
All shot and edited by me
Videos © FRAME, shown here as portfolio work. Each one links to the original post on FRAME's TikTok.
Shot on the day, cut for the feed. Photography on film and digital, BTS, short-form video and event coverage, edited and delivered by me.
I planned and shot iPhone BTS on set, including a Q&A between takes, then edited and rolled it out across 41 posts in eight days. The off-camera content outperformed the polished film on attention.
The median watch time, for iPhone-shot BTS. It held attention longer than the campaign film, which drew 1.9M views on a single post.
Part one of the between-takes Q&A, shot on iPhone.
View on TikTok ↗All shot and edited by me
Videos © FRAME, shown here as portfolio work. Each one links to the original post on FRAME's TikTok.
Three looks on one creator, shot on the street in natural light: a Fair Isle cardigan with rust corduroy, a white tee with low-rise brown denim, and a leather bomber over black jeans. Full looks, details and one in motion, photographed and edited by me for FRAME's channels.
Behind the scenes with Cassandra Grey, founder of Violet Grey, getting ready for the opening of the new store in the Palisades: the robe, the glam, the details of the suite, and the founder herself. Stills on digital and instant film, plus a BTS film and an in-store interview, all shot and edited by me.
Cassandra before the opening: the glam, the in-between.
Cassandra in the new Palisades store.
An evening fundraiser in a garden courtyard, covered from golden hour to the last speech: arrivals, the speakers, the room listening, and the details that tell donors what the night felt like.
FRAME pieces photographed by me: flat lays, a jacket over a walnut chair, knits stacked on the seat, a collar up close. Then I retouched each frame using AI, to a clean, finished product look.
The work that taught me to look: street portraits in Kathmandu and Havana, nights in Dubai, a first wedding, a high pasture, and film from Vegas, Tokyo and a summer abroad. Digital and 35mm, all shot and edited by me.
"Moments before": the Amelia Gray × FRAME launch dinner, set and waiting for guests. Place cards, candlelight and the glasshouse before the doors opened.
Edited by me. Footage and video © FRAME, shown here as portfolio work.
A FRAME mic on the fair floor: quick-fire questions for guests between the booths, cut into short verticals for the feed.
Edited by me. Footage and videos © FRAME, shown here as portfolio work. Each one links to the original post on FRAME's TikTok.
A studio class event with FOLM: the setup, the welcome bottles, and the class itself, cut into one quick vertical recap.
A one-week social plan for a skincare brand with no product news to post. I started from what was already working on their grid and in their comments, and built the week around the moment people quit: weeks two to four, when the routine looks like it's failing.
Relatable posts earn reach; everything else sits between 1K and 7K. Under the posts, the same questions repeat almost word for word: is this purging, does it go before or after tretinoin, how much do I use. One customer had stopped her prescription rather than risk layering it wrong.
Consistency isn't a nice message for this brand. It's the product. A purge, a layering question and an empty cart are the same problem: the routine broke and nobody was there to say what to do next.
A week called stay on it. With no product news, the news is the routine: what it does, how to run it, what to put next to it, and why the ugly middle is the part that works.
Two posts to be found, two to be understood, two to feel part of something. A no-newness week should cost a no-newness budget.
The brand's best-performing series, pointed at the routine: one slip-up confession per slide, each taken from a real comment or DM.
The explainer franchise flipped from "what is purging" to "what to do while it's happening", in a dermatologist's own words, ending on when to stop.
A deadpan photo dump of the products everywhere but a sink. It names a running joke so it can compound, and says "take it with you" without teaching.
A creator's one-take, sink-side night routine with a running timer and pump count. It becomes the reference video for every "how much do I use?"
The layering answer the grid never gave, including tretinoin and SPF, cut from Tuesday's interview. Built to be screenshot one card at a time.
Four real customers at day 1 and day 40, unretouched. The day count is the headline, not the skin. These are people who kept going.
Each post came with a storytelling rationale, draft caption, copywriter brief, cross-functional asset list and a KPI.
Every project is quoted as a whole, never by the hour. Tell me the date and what you need, and I'll send a quote within a day. For bigger productions I bring in trusted collaborators.
East Vernon Studio is me, Ella Barnes. After two years running social at FRAME, from the strategy to the shoot to the post, I now do the same for brands and events on my own, bringing in collaborators when a project calls for them.
I've always been drawn to the moments between campaigns: the off-camera laugh, the robe between looks, the room as it listens. I shoot for the thumbnail, edit for the first three seconds, and bring a film camera for the shots no one asked for.