EMMA
HAMPSON-JONES
CREATIVE DIRECTOR
Art Direction
2026
The Music is Black Festival
Client: Eastbank | V&A
Role: Art Director
Agency: Spark
Eastbank needed a festival identity for its launch partnership with V&A East's opening exhibition, The Music Is Black — but Eastbank isn't consumer-facing, and its identity has to work across every brand within the wider site, not just this one event. Working with CSO Cat Wiles, I art directed a toolkit built to flex rather than compete: a system for how festival lock-ups sit alongside both the exhibition's own branding and Eastbank's logo. Delivered as a reusable comms toolkit, it covers the festival this year and is built to carry future editions.
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DOP
2026
Stones short film
Personal project
Role: DOP
A personal short film, written and directed by Ellie Gibson, exploring disconnection and the frantic search to reconnect with self through nature — a woman scouring a beach for a single, specific stone as light fades and the tide turns. Shot on location in Seaford, I brought the visual language to Ellie's script: tracking a search that grows more desperate scene by scene, holding on hands, stone, and coastline until the character's control finally breaks. My first short film as Director of Photography, edited by Marsheen.
Releasing Autumn 2026
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2026
Le Boat Creative Transformation
Client: Le Boat
Role: Creative Director
DOP
Strategy
Content Creation
Le Boat's social content was product-led and interchangeable with any boating brand, it wasn't earning attention or clicks. Brought in alongside a copy CD to lead the brand's creative transformation, I took ownership of the art side, shifting the story from boats to people and places under a new platform: "Holidays feel better on Le Boat."
Its centrepiece, the Le Boat Story, became the brand's first cinematic format that was built around real destinations and the people who run them. This resulted in the highest-performing organic content on the channel, at 9% click-through. Scaling that shift meant building the system behind it: brand guidelines, differentiated design levels by campaign type, and shooting guides and briefs for external content creators to deliver to the same standard. A full website update extended the new direction across every touchpoint.
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2026
Oakland Park
Setting a wild new standard rebrand
Client: Oakland Park
Role: Creative Director - Brand
Oakland Park had no brand capable of speaking with authority to both sides of its business — the supplier network of estates, stalkers, and gamekeepers who source its product, and the wholesale trade of restaurants, caterers, and hotels who buy it. As the business entered phase one of a transformation scaling its wild meat processing plant, I led a full rebrand under the line "Setting a wild new standard," rolling the new identity across web, transport, advertising, and uniforms to give the business one credible voice across its entire supply chain. The brand is now live, and the next phase, a social strategy built around two cinematic brand films and a reactive, educational content stream is shooting October 2026.
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2025
‘Inside Budapest’ Branded Content campaign
Client: Hungary Tourism | CNBC
Role: Creative Lead
Agency: NBCUniversal
Visit Hungary needed Budapest to feel lived-in, not brochured — a city audiences could trust locals to show them, not a tourist board. As Design Director and Photographer on this CNBC × Visit Hungary series, I set the visual and strategic direction across editorial and social, shooting stills across the city myself to keep the photography as authentic as the storytelling it sat alongside. As Social Creative, I built a dual-stream strategy to carry that authenticity at different speeds: agile, trend-led content reacting in real time, and longer narrative edits giving the campaign's cultural storytelling room to breathe. That approach held attention where branded content usually loses it, the 5-minute narrative film held a 50% completion rate.
Campaign article
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2025
Anatomy of
craft
Client: UBS | CNBC
Role: Creative Lead
Agency: NBCUniversal
UBS's brand platform, "Banking is our craft," needed proof beyond the tagline — a way to make the idea of craft tangible rather than abstract. At NBCUniversal, I set the visual tone across a two-year branded content series of three films and three articles, each spotlighting a practitioner for whom craft was a discipline in its own right: an F1 engineer, an artist, an innovator. For the F1 piece, I conceived a gamified element — letting audiences adjust a car's setup against real race data to chase the fastest lap — turning fans' technical obsession into a direct demonstration of why data has to be crafted, not just collected. I photographed the artist and innovator features personally, carrying the same visual language across every touchpoint of the series.
Campaign article
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Photographer
2024
The Speed Project: Only the brave
Client: Like The Wind Magazine
Role: Photographer
Ultra trail running's public image skews young, white, and male — a picture the LDN Sole Sisters, a team of over-40s Black women, set out to challenge by taking on The Speed Project, the unsanctioned 340-mile relay from LA to Las Vegas. I pitched the story to Like the Wind, a specialist running magazine, drawing on my own friendship with the women running to get access most outlets couldn't — and shot the resulting photo story, which ran as the magazine's main feature.
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Photographer
2024
On x Net-a-Porter editorial
Client: Adrienne Adhami
Role: Photographer
Adrienne Adhami brought me in directly to shoot and art direct the imagery for her paid partnership promoting On's running collection on Net-a-Porter, with the work featured across both her social channels and Net-a-Porter's editorial section. Working to Adrienne's own brand and audience, I built a visual approach that read as editorial fashion photography first and product placement second — imagery strong enough to sit naturally within Net-a-Porter's own editorial pages rather than looking like inserted advertising.
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2019
Las Vegas branded content campaign
Client: British Airways
Role: Creative Lead & Photographer
Agency: Bauer Media
Grazia's readers needed a reason to see Las Vegas beyond the strip — somewhere print advertising alone couldn't take them. I creatively led the team behind a campaign connecting the two: QR codes in print driving readers to a dedicated video and creative hub on Grazia's site, featuring three films, destination content, and a competition mechanic built to convert interest into bookings. I shaped the user journey end to end and shot the photography myself for a four-page heavy-stock centrepiece, keeping every image on-brand for Grazia while giving Vegas room to feel aspirational rather than generic.
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2019
&Juliet Smash Hits special edition magazine
Client: Dewynters
Role: Art Director
Agency: Bauer Media
Bauer Media needed a way to mark &Juliet's West End debut that felt like an event, not an ad so they revived Smash Hits for one day only.
As Art Director, I built the design around the original title's 90s energy; clashing fonts, bold colour, maximalist layout and folded in &Juliet's own brand palette so the tribute felt current rather than nostalgic pastiche. Distributed hand-to-hand at major London Underground stations, the one-off issue struck a nerve beyond its print run: fans of the original publication started asking to buy copies on social media.
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