At this year's UPDATE in Berlin, 20 selected photographers and retouch artists presented their portfolios – from promising new talents to established industry professionals. The range of work on display ranged from corporate productions to sports & outdoor, beauty & fashion, architecture, and stills.

Professional visitors had the opportunity to interact directly with the artists, exchange ideas, and initiate potential future projects. The informal portfolio viewing thus facilitated personal contact between clients and creatives.

Participating artists and their portfolios (in alphabetical order):

Annika Yanura – www.annikayanura.com
Christiane Baumgart – www.christiane-baumgart.com
Chris Tribelhorn & Petia Lova – www.play-studio.se
Darius Ramazani – www.ramazani.de
Felix Eisenmeier – www.eisenmeier.com
Goetz Schleser – www.goetz-schleser.de
Janik Gensheimer – www.janikgensheimer.de
Klaus Mellenthin – www.klausmellenthin.com
Lars Schneider – www.larsschneider.com
Lauren Leis – www.laurenleis.com
Magnus Meier-Röbke – www.magnusmeier-roebke.de
Martin Tervoort – www.martintervoort.de
Mike Masoni – www.mikemasoni.com
Moritz Leissen – www.moritzleisen.com
NEA Post Art – www.nea-post-art.com
Per Schorn – www.perschorn.de
Ramona Reuter – www.ramonareuter.com
Rok Trzan – www.roktrzan.com

We would like to sincerely thank all participating artists who enriched UPDATE with their diverse and high-quality work.

Special thanks also go to the experts and viewers, including Jens Höllein, Head of Marketing BRAX, Julie Melchior, Head of Creative Production & Art Buying ZALANDO Studios, Claudio Catrambone, CCO Family Agency Zurich, Alice Feja, Head of Art / Accenture Song, Swenja Zeh, Creative Studio Lead DOUGLAS, Kerstin Mende, Head of Art Buying / Scholz & Friends, Lisa de Wall und Nele Hermann, Art Buying / Scholz & Friends, Julia Blanke und Anusha Atreya, Art Buying / Jung von Matt.

As well as  Carsten Kalaschnikow, Art Buying C3, Johanna Merensky / Head of Art Buying | fischerAppelt Group, Karen Schwarzer / Head of Art Buying, Philipp und Keuntje, Simone Gutberlit, Art Buying / Ressourcenmangel, Katrin Grün, Art Buying, Franziska Möck / Senior Art Buying Jung von Matt, Nicole Hardt / Art Director Lead C&A, Valerie Torabian, Head of Artbuying, DDB Berlin, Bianca Winter, Creative Producer & Art Buyerin, Solomon Winter, Laura Früchtenicht, Head of Art Buying THJNK / Hogarth, Jan Hippchen, CD Puma, Theo von Asperen, Global CD adidas, and last but not least, Luke Li, Global Creative Lead IKEA.

We would also like to highlight the Vogl printing company from Munich (www.druckerei-vogl.de). Petra Vogl was personally available, cheerful and charming, to answer questions and discuss possible collaborations. Her clients already include advertising agencies as well as brands that have their high-quality corporate print materials produced in Munich. UPDATE visitors were particularly impressed by the excellent paper quality. Druckerei Vogl sees itself not just as a printing service provider, but as a partner that focuses on quality, sustainability, and personalized consulting.

The SHOWCASE at UPDATE proved that creativity and quality can be found in all facets and stages of development of the visual industry – and personal encounters will continue to be indispensable in the future. You can find all participating artists – if they have a GoSee account – listed as SHOWCASE artists... until the next UPDATE in spring 2026.

 
28.05.2025 show complete article

Theo von Aspern, Global Creative Director at adidas at TBWA/Neboko, is a driving force behind some of the most exciting campaigns for the global brand. In this exclusive interview with GoSee, he gives us an insight into his role, the challenges of his work, and the creative vision behind recent projects like the "City Escape" campaign. He discusses the importance of authenticity in advertising, how he builds his team, and how trends and new technologies influence his creative process. We are also excited to welcome Theo in person at UPDATE Berlin.

What does your role as Global Creative Director at TBWA/NEBOKO entail? Theo: If you want to go fast, go alone. But if you want to go far, go together. I truly believe that. So, much like a football manager, my job is to pick the best team, get them aligned, and make sure every campaign we roll out is fresh, relevant, and impactful. We’re always looking for creative ways to tell stories that connect with people, feel authentic, and help drive brand recognition or increase sales. In doing so, we hope to play a role in shaping both sport and culture for adidas.

With the global adidas 'City Escape'-campaign, you brought the spirit of sport to the streets. This wasn’t just a shoot, but as you say: "This was an invitation to carry the energy, culture, and playfulness of sport into the everyday." Could you briefly explain the concept behind this campaign? Theo: City Escape was about bringing sport to the streets—no fancy stadiums, no elite athletes. Just real people tapping into the energy of sport in their everyday lives. We wanted to show that sport isn’t some destination—it’s a feeling that can happen anywhere, anytime. It’s about the freedom and energy that comes with being active, and we used authentic interactions to showcase that. What really set the campaign apart were the locations, colours, and textures that brought the whole idea to life.

In recent months, you’ve produced campaigns in Mexico, Cape Town, and Berlin. How do you select your locations, and how do you find the right production partners, photographers, and directors? Can external production companies apply to work with you, and what do you particularly value in your collaborators? Theo: This is a great question. There’s no one-size-fits-all answer here. When selecting locations, it’s all about authenticity and variety. For adidas, we don’t fake the setup. For example, not every city can handle performance cycling or swimming, and not every place is right for bustling cityscapes or lifestyle beach concepts. When it comes to production partners, photographers, or directors, I stick to my principles: no egos. There’s nothing worse than one bad egg ruining the bunch. Other than that, experience is key. Producing an adidas shoot is more demanding (for various reasons) than a lot of other brands, so you need a team that’s ready to plan, adapt and execute at the highest level. If you can get it done and bring a fresh perspective, I’m all in.

How many projects and campaigns do you manage with your team for adidas? Theo: Multiple. We’ve got a strong team at TBWANEBOKO, so each project gets the focus it needs. It’s not about quantity; it’s about making sure each campaign hits the mark. We’re constantly evolving the brand and looking for new, interesting ways to bring adidas’ products to life, while staying true to the brand’s essence.

What does the collaboration between your creative agency and the adidas brand look like? Do you have complete creative freedom in your work? Theo: I believe that to love your work, you need to live the brand. And working with a powerhouse like adidas, there’s always going to be a balance. There’s creative freedom, but within a rock-solid framework. Recently at TBWANEBOKO, we’ve been responsible for reinventing the adidas brand creative and strategy. That kind of work can’t happen without trust, compromise, and a lot of teamwork. At the end of the day, it’s about finding the sweet spot between disrupting the market and staying true to the brand’s identity.

How do you approach current trends, and what role does Artificial Intelligence (AI) play in your work? Theo: Trends are great, but they come and go. I believe in principles. Impact, communication, and persuasion. If you can master those, whether you’re telling a story through cave paintings or AI, you’ll find a way to reach your audience. Don’t get me wrong, I believe AI is an amazing tool—but it’s just that, a tool. The best ideas still come from humans—people who get the culture, the vibe, and the vision. AI can amplify creativity, but it can never replace the heart of what we do.

Successful work comes from the collaboration of a dedicated team. How do you build your team to ensure creative success? Theo: Finding the right balance between skillsets and personalities is very important. But it all starts with trust and passion. Especially on a brand like adidas—you’ve got to be all in. You need to live and breathe the world of sport and culture. If you're not aligned on the goal and working towards it every day, we’re probably not a good fit. Great work only happens when everyone’s willing to give their best, no matter how hard it gets. Simple as that.

A day in the life of a Creative Director at TBWANEBOKO working on adidas – what would you say is the most exciting, yet craziest part of your daily work? Theo: The most exciting part? Seeing ideas come to life—watching something you’ve been thinking about for months finally click into place. The craziest? The pace. It’s a constant whirlwind—emails, shoots, creative meetings. But that’s the thrill, right? When you're in it, that’s where the energy is. The excitement is in the constant progress, moving toward the goal and making things happen.

If you had to wear a superhero costume for the next adidas campaign, which one would you choose? And why does it fit perfectly with your creative vision? Theo: I’d go with John Hancock from Hancock. I’m a bit of a late bloomer. Early in my career, I wasted a lot of time thinking I was meant to do something else—like pursue a pro sport career. I’ve always been passionate about sport, from playing the game to understanding the mindset of elite athletes. But it wasn’t until later that I discovered my true passion for storytelling. Once I realized that, I doubled down on it. Now, I feel like I’m in the sweet spot where work feels like play. Every day, I get to refine and develop my passion for storytelling in the world of sport. Like Hancock, I’m all about reinvention, self-discovery, and making things happen. You’re never truly done evolving.

We’re excited to welcome you to the UPDATE in Berlin. You also worked on a project in Berlin last year. What is your relationship with the city, and what do you enjoy most about it? Theo: Although I was born in Cape Town, South Africa, my family comes from Germany, a country that is very dear to my heart. Berlin also holds a special place for me. I’ve worked here before, and every time I do, I find myself inspired by its art scene, buzzing nightlife, and diverse music culture. It’s vibrant, creative, and full of life. But what really stands out is its people—it’s not just about the work; it’s about how the people of Berlin make you feel alive.

 
16.05.2025 show complete article

Luke Li is a creative force with over 15 years of experience in the creative industry. He has made a name for himself as a dynamic Creative Director and visionary leader. Throughout his career, he has collaborated with global icons like PUMA, IKEA, and LEGO, as well as top creative agencies in the USA. His expertise spans digital innovation, brand building, product launches, and integrated marketing on a global scale.

After relocating from New York to Europe in 2015, he worked as an Art Director at Philipp und Keuntje, then moved to Denmark, where he spent two years executing LEGO campaigns. His journey took him further north to Malmö, Sweden, where he worked as Creative Lead / Art Director at IKEA Creative Hub, implementing creative campaigns. Eventually, he joined PUMA as Associate Creative Director, where he spearheaded global creative strategies for the Sportsstyle and Motorsport divisions. He led teams of global Art Directors, Copywriters, and external agencies to execute innovative campaigns. His work elevated the brand identity of PUMA and Formula 1, including collaborations with Aston Martin and the introduction of Ferrari’s Charles Leclerc as a new ambassador.

In the interview, he provides fascinating insights into his work, explaining how he develops creative visions for global campaigns that emphasize the female gaze and the diversity of the brand. He worked with Dua Lipa and K-pop sensation Rosé from BLACKPINK. "I never get enough of Speedcat campaigns! If Dua’s was a wild ride, Rosé’s is the epitome of an iconic road trip vibe."

GoSee : We’ve just seen the amazing PUMA x Juun.J Speedcat campaign. Can you share more details about this project and your role in it?
Luke: My role in this collaboration was to set the vision for a small, straightforward project centered on two leather SPEEDCAT shoes. Keith provided a clear, experimental brief for the agency Sofmedia, and my input focused on establishing a playful tone with black to complement the shoes’ silhouette. I emphasized incorporating JUUN J’s design style, motorsport elements, and black motorcycles for a cohesive look. We collaborated with SofMedia, a trusted agency we’ve worked with before, relying on their strong creative capabilities. It was a rewarding partnership, and we’re proud of the final outcome.

Can you walk us through a typical day in your role as Creative Director at PUMA? What are some of your key responsibilities?
My typical day at PUMA involves ensuring smooth creative processes, aligning with the team through internal meetings, and checking in with project managers to track progress and address any needs. I spend significant time collaborating with stakeholders, sharing updates, and gathering information to keep projects on track. Given the global nature of our work, my afternoons are often busier as other regions come online. Ultimately, my focus is on supporting the team, fostering creativity, and building strong relationships across teams and with designers, driven by my curiosity and passion for collaboration.

What’s the most exciting part of working with a global brand like PUMA, and how do you stay motivated in such a fast-paced environment?
Staying motivated for me starts with staying curious—exploring what competitors, other brands, and the creative world are doing, especially in the racing category and beyond. Working at PUMA, a large company with diverse areas like shoe and apparel design, offers endless opportunities to learn and collaborate with different teams. I feel fortunate to work across sports style and motorsports categories, which keep me engaged, inspired, and constantly challenged. This variety is what makes the job exciting and fulfilling every day.

Could you tell us more about your approach to developing global creative strategies for the Sportstyle and Motorsports divisions at PUMA?
Sportswear and motorsport cater to very different audiences, so understanding the target audience is key. I spend time researching—scrolling through Instagram, social media, and news—to align with their mindset and the product’s original design inspiration. My role is to bridge the gap between strong product foundations and aspirational visuals. Once the vision is set, we find the best talent to bring it to life, ensuring an efficient and impactful way to tell the story through thoughtful design and visuals.

You’ve been heavily involved in the Speedcat campaign with Dua Lipa and the incredible Rosé. What was the creative process behind these collaborations, and how did you bring these concepts to life?
The Speedcat shoe is one of PUMA's key products for 2024, and creating a strong impact requires close collaboration between our sportstyle marketing teams. To set the tone for this iconic shoe, we chose Dua Lipa and Rosé from BLACKPINK as ambassadors. Their global influence and distinct personalities make them perfect for reaching diverse audiences.
Given the shoe’s motorsport-inspired background, we decided on a road trip theme to tie the campaign together, incorporating elements like cars and wild environments. This narrative will be supported by activations in Las Vegas and other key locations. The contrasting styles of the ambassadors—one more wild, the other more classic—help represent the versatility of the Speedcat. I’m proud to be part of this impactful project, collaborating with an incredible team to bring this campaign to life.





What role do you play in mentoring and leading teams of art directors, copywriters, and external agencies? Could you share any challenges or success stories from your experience?
A fun part of my job is collaborating with amazing talents, both internally and externally. My key leadership principle is to set the vision while giving creatives the space to explore and play. This approach helps uncover strengths, build relationships, and foster growth. I see myself as an aspirational leader rather than a directive one, though a challenge arises when working with people who need clear instructions. I’ve learned the importance of understanding individual styles and adapting to them. Ultimately, talent has the power to elevate a vision beyond expectations, and that’s where the magic happens.

With your extensive background in digital strategy and brand awareness, how do you integrate these elements to create campaigns that resonate with today’s audience?
My diverse background has helped me become a better marketing creative. I’ve worked across various areas, from traditional 360 agencies to digital design, social media, retail, and global marketing, including creating brand identities and design systems. This experience allows me to understand the needs of different stakeholders, adapt to new technologies, and connect with audiences in unique ways. It’s this versatility that helps me craft tailored solutions for today’s ever-evolving audience.

How did your previous roles at IKEA and LEGO prepare you for the challenges you face at PUMA? What key insights have you brought with you from those experiences?
Working at LEGO was my first experience on the client side, where I gained valuable insights into how global organizations operate and collaborate across markets and teams. This global perspective helped me later in my career, especially in connecting products with impactful stories. At IKEA, I further honed my skills through collaborations with Virgil Abloh and pop culture designers, gaining a deeper understanding of youth culture and its influence. Working closely with PR teams, launch events, and design collections taught me how to create impactful campaigns. These experiences have shaped my ability to see the bigger picture and apply effective principles across different brands.

PUMA has a strong connection to the motorsport world. How do you approach creative direction in this space, and how do you balance the high-performance aspect of the brand with its fashion-forward identity?
This project was particularly amusing since I don’t even have a driver’s license, but I immersed myself in the motorsport world to understand the culture, collaborations, and what resonates with younger audiences. I focused on grasping the design philosophy and product insights, which were backed by thorough research and a well-defined audience. My role was to translate this vision into marketing, showcasing the product’s speed, forward-thinking style, and unique identity for each partner. Exploring creative possibilities and representing motorsport teams effectively made the process both challenging and enjoyable.

Looking ahead, what future trends do you see influencing the world of brand marketing and creative direction? How is PUMA positioning itself to stay ahead of the curve?
The world is constantly evolving with new technologies, media, and storytelling methods, but the key is for brands to truly understand their audience—what they value, feel, and find relevant. It’s not just about pushing stories but creating meaningful connections. Staying ahead requires leveraging the power of influence through collaborations with ambassadors and designers, ensuring we remain at the forefront of trends. This approach is one of our simple formulas for success.

Some of his works are featured here on GoSee, and you can find more on lukeiscrazyman. You can meet Luke Li in person at UPDATE 25 in Berlin.

 
16.05.2025 show complete article