Work


Now that we’ve established that I apparently have a problem with choosing just one creative discipline, here is where things get a little more practical. What follows is a selection of projects I’ve worked on across writing, editorial, content creation, photography, social media, communications and marketing, some planned down to the last detail, others beginning with a vague idea and a “let’s see where this goes.”

I’ve organised these projects less by job title and more by the stories they tell and the things they allowed me to explore.
WRITING & EDITORIAL
From interviews and features to copywriting and editorial storytelling, this is where words do most of the heavy lifting.
CONTENT & SOCIAL
Ideas made for screens. From social media and digital campaigns to content creation, strategy and the occasional Reel.
VISUALS & CREATIVE
Photography, creative concepts and visual storytelling, because sometimes the story is better told without quite so many words.
ODDA MAGAZINE | Editorial Coordinator

THE WORK
My time at ODDA Magazine started as a contributing digital editor and writer before evolving into an editorial coordination role. I wrote and edited articles, interviews and stories, while also creating copy for social and digital channels.
    As Editorial Coordinator, I moved further into the machinery behind the stories: coordinating writers and proofreaders, assigning interviews and editorial tasks, managing the editorial database, onboarding new contributors, and personally conducting interviews with talent, celebrities and industry personalities.
    In other words, I got to be both the person writing the story and the person making sure everyone else actually submitted theirs.
THE THOUGHT
  • ODDA became an important part of my development because it pushed me to become much more structured and intentional in the way I work. 
  • Coordinating multiple writers, interviews and deadlines taught me how to plan carefully, organise projects from beginning to end, and keep several moving parts on track without losing sight of the creative side.
  • Working across both writing and coordination taught me to think beyond the sentence itself, to consider the person being interviewed, the audience reading it, the publication’s identity and all the small decisions that make a story feel intentional. 
  • It also gave me the opportunity to build relationships with a wide range of people across the fashion, media and creative industries, expanding my network and teaching me the importance of communication and collaboration.
  • More than anything, the experience strengthened my coordination skills and showed me that good editorial work isn't only about having a good idea; it’s also about knowing how to organise the people, time and details that bring it to life.

VANITY TEEN | Deputy Fashion Editor, PR & Content Writer

THE WORK
At Vanity Teen, I worked across editorial, fashion and communications, taking fashion stories from idea to publication.
    As Deputy Fashion Editor and PR / Content Writer, I managed editorials and photoshoots across the full process, developing concepts, coordinating photographers, stylists, talents and contributors, overseeing production and post-production, and preparing the final story for publication.
    Alongside the visual side, I conducted interviews with international personalities and wrote articles, reviews and features, while also working on brand partnerships, sponsorships and PR relationships.
    It was essentially a crash course in what happens when an idea has to become an actual editorial, preferably on time.
THE THOUGHT
  • What drew me to Vanity Teen was the possibility of working with stories in a much more complete way.
  • I didn’t just want to write about fashion; I wanted to understand how the image, the talent, the styling, the words and the production could work together to create a narrative.
  • The experience taught me how much storytelling happens before a single word is published, and how important collaboration is to the final result. 
  • More than anything, it helped me become comfortable moving between creative and organisational roles and showed me that I’m probably happiest somewhere in the middle, where an idea is still being shaped.

BEACH BOYS | Writer

THE WORK
Beach Boys was a particularly personal project for me, and my contribution came through the written side of the book. I wrote the introduction, a very personal text that helped establish the tone and create an entry point into the story that followed. Rather than simply describing the images, the text was about creating a sense of atmosphere and giving the project a voice of its own.
   Working on the book also gave me the opportunity to engage with the wider creative process, learning how elements such as tone, casting, location and photography come together to shape a visual narrative.
    It was a project where writing became one part of a much larger conversation between image, people, place and atmosphere.
THE THOUGHT
  • I was particularly interested in the project because it allowed me to approach an editorial as a complete story rather than simply a collection of images. 
  • I’ve always been drawn to the space between fashion imagery and personality, what happens when the person in front of the camera becomes part of the narrative rather than simply its subject.
  • Beach Boys helped me develop a stronger instinct for visual storytelling and taught me to think about how tone, casting, location, photography and words can work together. 
  • It was another reminder that sometimes the best stories are the ones that don’t need to explain themselves too much.

GIOELE - Yummy Limited Edition Books | Writer

THE WORK
For Gioele’s Limited Series book, my role was focused on creating the written introduction to the project.
    I interviewed Gioele specifically for the book, using the conversation to capture something personal about him and his perspective, and then shaped the interview into a short, engaging text that could introduce the reader to the story and the person behind the images.
    The challenge was to condense a much broader conversation into something concise without losing its personality.
    It meant thinking carefully about what to keep, what to leave out, and how to give the introduction enough character to draw the reader in without taking away from the visual story that followed.
    It was a small piece of the book, but one that taught me a lot about editing, tone and how to make a few paragraphs do quite a lot of work.
THE THOUGHT
  • What interested me most about working on Gioele’s book was the intimacy of the format.
  • Unlike a longer editorial interview, the introduction had very little space to tell his story, which meant finding the details, words and moments that could give the reader a sense of who he was without trying to explain everything.
  •  I enjoyed that process of listening, selecting and shaping, finding the personality within a conversation and turning it into something concise and engaging.
  • It also made me think differently about the relationship between writing and imagery. 
  • When writing an introduction to a visual project, the text doesn’t need to compete with the photographs; it needs to create an opening for them. 
  • Learning how to balance personality, tone and context within such a small space was one of the most valuable parts of the project, and another reminder that sometimes good storytelling is as much about what you leave out as what you choose to say.    

YUMMY MAGAZINE | Marketing Content Manager | Social Media Strategist & Writer

THE WORK
My work at Yummy Magazine evolved across several roles, moving between marketing, content, editorial and social media over more than three years.
    As Marketing Content Manager, I worked across the magazine’s digital presence, planning social media strategies and content calendars, creating and writing content, managing email marketing, developing website and landing-page materials, and producing visual assets using Photoshop, Illustrator and InDesign.
    I also handled photo retouching and editing, interviewed talent, coordinated with photographers and creatives, and worked across Shopify and Shogun to bring content from an idea into a finished digital experience.
    Alongside this, as Social Media Strategist and Writer, I focused more closely on the day-to-day storytelling of the magazine, developing content for Instagram and TikTok, managing the community, editing photography and video, and contributing to casting and production.
    The roles often overlapped, an interview could become an article, a social post, a Reel or a campaign, and a photoshoot could continue to live well beyond its original publication.
  Yummy gave me the opportunity to work across almost every stage of the content process, from the first idea to the moment someone actually sees it on their screen.
THE THOUGHT
  • What I enjoyed most about Yummy was the opportunity to understand storytelling as something much bigger than a finished article or editorial. 
  • Working across different parts of the magazine meant learning how a story changes depending on where and how it is experienced, what works on a website might need to become a Reel, a newsletter, a photograph, a caption or something entirely different.
  • It taught me to think beyond individual pieces of content and consider how they can work together as part of a larger creative identity. 
  • The experience also allowed me to become much more confident working across disciplines.
  • I learned to move between writing, visual production, social strategy, design, editing and coordination without seeing them as completely separate skills.
  • More importantly, it showed me that I enjoy being involved in the whole process: taking an idea, figuring out what it could become, and then actually making it happen.
  • Yummy was, in many ways, where I began to understand that storytelling is not tied to one medium, it’s about knowing what the story needs and finding the right way to tell it.   


SICKY MAGAZINE | Freelance Contributor | Writing, PR & Events

THE WORK
At Sicky Magazine, I worked as a freelance Content Writer, contributing to the publication’s editorial voice through interviews, articles, reviews and other forms of written content.
    I interviewed international artists and talents, developing conversations into stories that could capture both their work and their personalities, while also writing across fashion, culture and creative subjects.
    Alongside the editorial side, I was involved in project coordination, PR and events, helping connect the magazine’s content with the people and creative communities around it.
    Working remotely from Spain with a Berlin-based publication also meant learning how to collaborate across different places, people and projects while keeping the editorial process moving.
    My role often sat somewhere between writer, coordinator and contributor, researching an idea, speaking to the people behind it, shaping the story, and sometimes helping make sure the story could exist beyond the page.
THE THOUGHT
  • Sicky appealed to me because it gave me the freedom to explore stories through people and ideas rather than being restricted to one particular format.
  • Interviews were especially important to me because they allowed me to get beyond the surface of someone’s work and understand the person, references and experiences behind it.
  • I enjoyed the challenge of finding the right questions, listening for the unexpected answer and turning a conversation into something that felt natural rather than overly constructed.
  • The experience also taught me that editorial work doesn’t exist in isolation.
  • Through PR, events and project coordination, I became more aware of the relationships and communities that surround a publication, and how much of its identity is built through the people it works with. 
  • Sicky helped me become a more adaptable writer and collaborator, while reinforcing something I’ve come to value in my work: good stories usually start with genuine curiosity.  

SIGNNE CREATIVE HOUSE - LABORATORIOS BABÉ | Digital Marketing Specialist


THE WORK
At Signne Creative House, I worked as a Digital Marketing Specialist across a mix of beauty, cosmetics and fashion accounts, including Laboratorios Babé, The Great Fusion, U1ST and Hoss Intropia.
    My role brought together copywriting, content creation and digital strategy: I developed bilingual content in Spanish and English, created and implemented social media strategies, wrote advertising copy and newsletters, supported the internationalisation of social platforms, and monitored performance across social media and websites using Metricool.
   Beyond the content itself, I was involved in the wider day-to-day work behind campaigns and brand communication. This included production, influencer marketing, gifting, promotional events, PR clipping and coordinating tasks.
    Working across several brands at once meant constantly adapting the tone, visual language and communication approach to different identities, from a beauty laboratory to a fashion brand, while keeping each one consistent and recognisable.

THE THOUGHT
  • What interested me about working at Signne was the opportunity to take the storytelling skills I had developed through editorial work and apply them to brands with very different audiences and objectives.
  • It taught me that good communication isn’t simply about writing something well; it’s about understanding who you are speaking to, what the brand wants to say, and finding the tone that makes those two things meet.
  • Moving between beauty, cosmetics and fashion also made me much more conscious of how differently a story can be told depending on the world it belongs to. 
  • The experience also helped me become more comfortable with the strategic side of content.
  • I learned to look beyond the individual post or piece of copy and think about consistency, performance, international audiences and the bigger picture of a brand’s digital presence. 
  • It was a valuable step in understanding how creativity and strategy can work together and how sometimes the best idea is the one that not only looks good, but actually has somewhere to go.    



GROUPON | Copywriter, Marketing Content Manager

THE WORK
At Groupon, I worked as a Marketing Content Manager focused on the U.S. market, creating performance-oriented copy for a high volume of deals and commercial campaigns.
    My work centred on writing and optimising content with a clear objective: making offers more compelling while supporting engagement and conversion.
    I worked across SEO, sales-focused copy and UX/UI & HTML writing, adapting language to different audiences, formats and stages of the customer journey.
   One of the most interesting parts of the role was working with AI as part of the content workflow.
    I used AI tools to create, refine and scale content, while also helping train systems to follow specific editorial standards and operational requirements.
    The role gave me a very different perspective on writing, one where creativity had to coexist with data, efficiency and performance, and where a sentence could ultimately be measured by what it made someone do.
THE THOUGHT
  • Groupon was an opportunity to challenge my understanding of what good performance writing can be. 
  • Coming from editorial and creative environments, I was used to thinking primarily about narrative, tone and personality. Here, I had to think about those things alongside much more tangible questions: Does this communicate clearly? Is it optimised? Does it make the offer more attractive? Does it help someone make a decision? 
  • Learning to balance creativity with measurable outcomes made me a much more versatile writer. 
  • The experience also pushed me to become more curious about the relationship between technology and content. 
  • Working extensively with AI made me think differently about how content can be produced at scale without losing consistency or editorial control. 
  • More than anything, Groupon taught me that writing can be both creative and highly functional and that sometimes the most effective words are the ones that know exactly what they need to achieve. 
QROUD AGENCY | Social Media Strategist

THE WORK
At Qroud Agency, I worked across several different projects within the agency’s portfolio, managing social media and content for very different types of communication.
    One part of my role focused on the personal Instagram account of the agency’s founder, where I worked on content and communication around his personal brand.
    I also managed the social presence of a separate account dedicated to a book he had published, adapting the content to promote the book while building its own visual and editorial identity.
   Alongside this, I worked on social media and content for Queer Destinations, a platform focused on helping hotels and hospitality businesses become more welcoming and suitable for LGBTQ+ travellers.
    This meant communicating around LGBTQ+ travel, hospitality and inclusivity while helping translate the organisation’s mission into accessible digital content.
    Moving between a personal brand, a publishing project and a hospitality-focused platform meant constantly adapting tone, messaging and content strategy to very different audiences.
THE THOUGHT
  • What I found particularly valuable about Qroud was the opportunity to see how storytelling changes depending on who or what you are communicating for.
  • A founder’s personal brand requires a very different voice from a book, while a platform working with hotels needs to communicate its values in a way that feels both informative and engaging.
  • Moving between these projects taught me to listen closely to the identity behind a brand and find a tone that feels authentic rather than simply applying the same social media formula everywhere.
  • Working with Queer Destinations also gave me a different perspective on the role communication can play within an industry.
  • The work wasn’t only about creating content; it was about communicating why inclusivity matters and helping hospitality businesses understand how to better welcome LGBTQ+ travellers.
  • It reinforced my interest in communication that has a purpose beyond visibility using content to inform, connect and, hopefully, make things a little better along the way.  
METAL MAGAZINE | Contributing Writer

THE WORK
As a Contributing Writer for METAL Magazine, I worked across the publication’s editorial content, writing interviews, articles and features around fashion, culture and creative personalities.
    Much of my work centred on conversations with international talent, turning interviews into engaging pieces that captured both the subject’s work and something of their personality beyond it.
   The role allowed me to contribute to an established editorial voice while bringing my own perspective to each story.
    From researching and preparing questions to conducting interviews and shaping the final text, I was involved in the process of turning an initial idea or conversation into a finished piece ready for publication.
THE THOUGHT
  • What I enjoyed about writing for METAL was the opportunity to keep developing my voice while exploring subjects that sit at the intersection of fashion, culture and creativity.
  • Every interview brought a different perspective and required a different approach, which taught me to be curious, ask better questions and find the angle that made each story feel specific rather than interchangeable.
  • It also reinforced something I’ve come to value throughout my editorial work: writing is often about creating a space for someone else’s voice.
  • The best interviews, for me, are not simply a list of questions and answers, but a way of making someone’s personality come through on the page.
  • That process, listening, selecting, editing and shaping, is still one of the parts of storytelling I enjoy most. 

LUCAS | Photography | Personal Project

THE WORK
This was a personal photographic project with Lucas, created as an exploration of intimacy, connection and the quiet moments that exist between two people.
    Rather than approaching the shoot as a traditional fashion editorial, I wanted the images to feel more instinctive and personal, less concerned with posing and more interested in presence, touch, atmosphere and the relationship between the person in front of the camera and the person behind it.
   The series was photographed with a deliberately intimate visual language, allowing the images to develop naturally rather than following a rigid narrative.
    It became an exercise in creating a sense of closeness through photography using light, framing, movement and proximity to capture something that feels personal without needing to explain it.
THE THOUGHT
  • I wanted to explore intimacy as something that can be communicated visually without becoming overly literal.
  • For me, the most interesting photographs are often found in the moments that feel slightly unplanned: a look, a gesture, a pause, the space between two people.
  • This project gave me the freedom to work intuitively and to let the relationship between photographer and subject become part of the story. 
  • It also taught me a lot about trust and vulnerability in portrait photography.
  • Creating intimate images requires a certain sensitivity towards the person in front of the camera, as well as an understanding of when to direct and when to simply let a moment happen. 
  • More than anything, the project allowed me to explore photography as another form of storytelling one where sometimes the smallest gestures can say the most.   
LEO HANNA | Photography | Personal Project

THE WORK
This was a personal photography project with Leo Hanna, where I was involved in the entire visual process, from shooting the images to editing and post-production.
    I wanted the final photographs to feel less like polished digital files and more like images pulled from the pages of a printed publication, with a certain tactility and imperfection to them.
   I worked through the editing and post-production with that idea in mind, paying particular attention to texture, colour, contrast and the overall treatment of the photographs.
    The final series became as much an exploration of image-making as it was of photography itself: taking something created digitally and giving it the visual language of something physical.
THE THOUGHT
  • I’ve always been drawn to the feeling of printed photography, the small imperfections, the texture of paper and the way an image can feel different when it exists as an object rather than simply something on a screen.
  • With this project, I wanted to explore whether that feeling could be recreated through the editing process, using post-production not just to correct the photographs but to give them a particular sense of materiality.
  • The project also allowed me to think more consciously about the relationship between shooting and editing.
  • Rather than treating post-production as the final technical step, I approached it as another creative stage where the visual identity of the series could really take shape.
  • It was a reminder that photography doesn’t necessarily end when you press the shutter sometimes the story is still being written afterwards.

ADRIAN GOMIS EXPOSITO