I work where storytelling meets space, shaping how people experience culture, hospitality, and place through the lens of marketing and design. At its best, my work reveals how branding, design, and strategy intersect to communicate a city’s or brand’s ambitions, and how thoughtful placemaking can catalyze long-term cultural and civic value.

At Ace Hotel, I lead global marketing for food and beverage, overseeing strategy, creative development, and brand storytelling across all culinary concepts. Under my leadership, we've delivered record-breaking performance, including the company’s highest-grossing month in history. Each campaign is rooted in a sense of place, layered with community insight, digital fluency, and design thinking, translating not just what we serve, but how we belong.

My collaborations include NOMA’s Kyoto residency, the St. John takeover in Brooklyn, and a global brand integration for Stumptown Coffee. These aren’t just culinary activations; they’re storytelling engines. Built to expand brand equity and spark international media attention, they remain deeply anchored in the spirit of each space. For me, marketing is never just about visibility, it’s about creating emotional resonance, shaping identity, and inviting people into a meaningful experience.

Beyond hospitality, I run a consultancy focused on public art infrastructure, luxury development, and cultural programming across the Middle East. I’ve worked on some of the region’s most ambitious cultural initiatives, guiding cities and brands in expressing their aspirations through space, story, and public engagement.

As part of the all-female team that led the development of Riyadh Art, I helped take the project from concept to funding to execution. By aligning public and private stakeholders around a shared narrative, we secured $3.4 billion in investment and presented directly to HRH Mohammad Bin Salman. The result is the world’s largest public art initiative, a living example of how creative strategy can drive urban transformation and express the ambitions of a city through its streets, stations, and public squares.

At NEOM, I shaped the curatorial and commissioning strategy for the city’s public art program, building a centralized artist bank and leading creative direction for procurement. My role bridged the poetic and the pragmatic, ensuring that large-scale concepts were grounded in technical feasibility, while still delivering on vision. Again, the work was not just about aesthetics. It was about articulating a new kind of place and using branding and design to give form to a future-oriented identity.

For Trojena, NEOM’s cultural lakefront district, I developed a two-part commission exploring nature, pilgrimage, and national reflection. I collaborated with Saudi artists, poets, and engineers to create immersive sculptural works that felt both monumental and intimate. The work was as much about landscape as it was about legacy, an expression of how place-based storytelling can resonate across generations.

In New Murabba, I advised on the commissioning framework for a new urban district, aligning architectural planning with curatorial vision and operational systems. My contribution ensured that the cultural fabric of the development was interwoven from the start, with branding and placemaking used to express ambition, anchor experience, and invite civic participation.

I also served as strategic lead on the Riyadh Metro public art initiative, embedding storytelling into 85 transit stations across 176 kilometers of lines. This wasn’t about decoration. It was about identity. We transformed infrastructure into narrative, offering a way for residents to see their city through the lens of creativity, memory, and pride.

My consulting work continues to support hospitality, luxury, and real estate development across the Gulf. I advise teams on how marketing and placemaking can work together to deepen emotional connection, bringing architecture, branding, and public experience into alignment. I think of branding not as a surface layer but as something that lives within the bones of a space, felt in how people move, how they gather, and how they remember.

In the U.S., I’ve led experiential campaigns across New York, the Hamptons, and San Francisco. My creative production and digital strategies are built to move fluidly across platforms while maintaining a deep sense of place. The Jen Stark installation at The William Vale, for example, transformed a visual moment into a cultural touchstone, local in tone, global in reach.

As Marketing & Creative Director of Steller Consulting, I collaborate with both B2B and B2C clients to shape marketing strategies, digital campaigns, multi-channel plans, and content ecosystems across a range of sectors including hospitality, real estate, luxury, the arts, and cultural institutions. My work spans strategic direction and creative development, grounded in a belief that brand and audience alignment is both art and architecture. Select clients and collaborations include: Al Nakheel Mall, Stuart Weitzman, Hudson Valley Museum of Contemporary Art, Anastasia Photography Gallery, Marc Straus Gallery, The Japan Society, and The Wadsworth Atheneum.

Earlier in my career, I led marketing for SAAF.com, a Saudi-based luxury retail concept, and served as a design advisor to the Saudi Arabian Monetary Agency. In both roles, I helped craft institutional identities through storytelling, visual media, and design-forward communication.

One of the most joyful projects I’ve led was Joyous Gardens, a civic art initiative where I worked with artists, engineers, and municipalities to design sculptural playgrounds that were safe, beautiful, and community-driven. It was a reminder that public art can be both playful and powerful, anchored in emotion, built to last.

I began my career in New York, working with FLATT Magazine, Lipman Advertising, and The Hole Gallery. These early roles grounded me in luxury, culture, and campaign strategy, and gave me a fluency across disciplines that continues to shape my approach today.

What connects all of this work is a belief that cities, brands, and cultural spaces are not just built, they are expressed. When done well, marketing becomes a way of showing who we are and where we’re going. It can turn infrastructure into identity, experience into memory, and aspiration into action.

I continue to mentor women in leadership and advocate for innovation in hospitality, cultural programming, and urban storytelling. Across every project, I return to the same idea: that marketing is not just about visibility, it’s about meaning, emotion, and the ability to create lasting resonance through story, place, and experience.

When I'm not working. You’ll find me on a tennis court, at a gallery opening, or thumbing through bins of obscure shoegaze and grunge records in search of something that sounds like a memory. I collect rare vintage band tees and frequent flyer miles in equal measure, and I’m always in search of the perfect martini, ideally cold, clear, and quietly excellent. The perfect martini, I’ve learned, is made in the quiet magic of who you share it with.

I split my time between lingering dinners and slow mornings with my one-year-old niece and my 101-year-old grandmother. Two very different age groups, both unreasonably wise. I read autobiographies of people who’ve shaped culture and time, write occasionally for art publications where I get the honor to interview some of today's most creative minds, often talk jazz and the Yankees with my father, and talk about growing hydrangeas like my mother once did, part nostalgia, part ambition.

Somewhere in the mix: a stint in Paris influenced my fixation on finely structured blazers, a reluctant dependence on the Saint Laurent 60mm Wyatt boot, (thanks to Hedi Slimane and his tenure at Dior Homme) and Cowboy, my rescue cat, who acts more like an eccentric flatmate with great taste and no job.

I collect art the same way I collect memories, with range and sentiment. My walls hold pieces from legends like Kara Walker and quiet, wabi-sabi Japanese pottery that I bought on my last trip to Kyoto, right alongside my niece’s handmade birthday cards, which are equally important, unknowingly influenced by Jackson Pollock, and arguably just as profound.

If there’s a throughline to it all, whether it’s an obsession with structure, a love of storytelling, the way I approach style, or the quiet ritual of a proper dry martini, it’s a belief in character, in craft, and in a quiet respect for restraint, an ongoing effort to find meaning in simplicity and beauty in the everyday.