Automotive
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Designer

I didn't grow up around cars. No one in my family was into them. But from the moment I started drawing — which was early — I was drawing cars. Always cars. Something about their shape, the way they compressed speed and intention into a single form, pulled me in before I had the words to explain why. Most of it came through video games. Not the racing mechanics — the machines themselves. The idea that someone had imagined these things, drawn them, and brought them into the world. I wanted to be that person.

Growing up in the south of France, I had no roadmap for that. I just kept drawing. At 18 I found Strate in Paris — one of the few schools that took transportation design seriously — and everything clicked into place. The alumni archives changed everything. They showed me a specific kind of car design — methodical, manga-influenced, built on precise linework and a very particular colour palette. I recognised something in it immediately. Classmates reminded me that genuinely innovative work was still being made right now, by people my age. Beyond that, I look up to designers who move between worlds — between industries, between fiction and function — but the Strate lineage is what shaped me most directly.

After school, I chose Turin. Paris studios were saturated and hard on junior designers. Turin was the right choice — a city built around car design, where studios like Italdesign and Pininfarina had defined what the discipline could be. Syd Mead himself worked here. That history is in the streets. Working here pushed me to develop real output, real craft, real professional standards.

Now the work is changing. I've started building a personal catalogue of concept vehicles — Vanguard, Modulo, and others — that reflect what I actually want to say as a designer. Proportions are everything to me. Before ideas, before surface detail, before any design language — if the proportions are wrong, nothing else saves it. Knowing the rules well enough to break them deliberately — that's where the interesting work begins.

Beyond automotive, I'm drawn to concept design, futurist worldbuilding, the intersection of vehicles and the environments they inhabit. The catalogue I'm building now is the beginning of that.