Impact #2: Horror movies – Crafting atmospheres.

When I think about the spark that ignites my creative process, it always takes me back to the dark, atmospheric worlds of 1930s-1960s horror films. This might seem unusual at first glance—how could old cinema, particularly horror, influence modern branding and creative direction? But for me, it’s the emotional core of these films, their ability to distill human fear and desire into visual poetry, that speaks to my work as a creative and art director.

Growing up, I found myself captivated by the productions from Hammer Film Studios. Their gothic reimaginings of classic monsters like Dracula and Frankenstein weren’t just stories of terror—they were mood pieces, lessons in tension, light, and shadow. The interplay of darkness and unexpected bursts of color in Hammer films creates a sensory experience that lingers long after the final frame. That delicate balance of restraint and the surreal—the constant tug between what’s hidden and what’s revealed—has left an indelible mark on how I approach visual storytelling.

What fascinates me most about this era of horror films is their reliance on suggestion rather than overt spectacle. These films, restricted by the limitations of early special effects, mastered the art of restraint. A shadow crossing a dimly lit hallway, a curtain rustling where there should be no breeze—this is where the true magic happens.

In my creative direction, I’ve often sought to adopt this technique. I want to let the viewer fill in the gaps, to involve them emotionally by suggesting more than I show. Like those classic horror directors, I believe that the most potent emotions come not from what you see but from what you imagine could be there. This subtle suspense, this quiet, looming presence, permeates my work, from high-end fashion campaigns to intimate product branding.

There’s something timeless about the terror captured in those early horror films—something primal. I’m always looking to tap into that timeless quality in the projects I take on. My goal is to build something that feels universal, something that resonates emotionally across time and place.

The horror of the 1930s-1960s wasn’t just about jump scares or gore; it was about uncovering the darker sides of human nature, about exploring fear, obsession, and the unknown. These themes are universal and, in a way, eternal. I aim to infuse my creative work with that same depth of emotion, to deliver something that not only looks good but feels profound, as if it speaks to some part of the viewer’s subconscious.