Hi. Since you're here, let me show you my world.
Valentine
this is
Communication — Marketing — Creative direction
A business student who works like a creative. I co-founded a production studio before I finished my degree, I shoot and edit what I imagine, and I read the numbers the morning after. Looking for an international internship in fashion, luxury and lifestyle — the kind of house where the image still decides everything.
Creative passport
★ ★ ★ ★ ★ ★ ★ ★ ★ ★
VALENTINE
KEDGE BUSINESS SCHOOL
BORDEAUX, FRANCE
COMMUNICATION & MARKETING
CONTENT CREATOR · ENTREPRENEUR
signature of authorized traveler
Valentine
★ ★ ★ ★ ★ ★ ★ ★ ★ ★
I build brand worlds for a generation that scrolls fast and forgets faster.
The long version
I understood images long before I could explain them. I was the one framing the photo at
the end of the table, the one who noticed that a campaign had changed its typeface, the one who could tell
you why one post travelled and the next one died. Business school taught me to name that instinct —
positioning, audience, margin — and to defend it in front of people who ask for proof.
Today I do two things at once. At KEDGE Business School I study communication and marketing. Outside,
I co-founded VEA Studio with two associates: an audiovisual production company working for local
businesses, estate agencies and public institutions. I handle the brand, the image and the social side —
the rest of the team handles production, editing and sales. We have delivered [STAT]
films so far, including a series for [CLIENT — à confirmer].
Running a studio at twenty taught me what a classroom cannot: that a client judges the first thirty seconds,
that a deadline is not a suggestion, and that a beautiful film nobody watches is a failure.
I want to bring that inside a fashion, luxury or lifestyle house — somewhere the image is the product,
not the decoration.
How I work
I start with the question nobody asked: what does this brand want people to feel, and what are they actually feeling right now. The gap between the two is the idea. Then I make it visible — one image, one sentence, one format — before writing a single line of strategy, because an idea that cannot be photographed cannot be posted. I shoot it, publish it, and give it a week. What the numbers say next decides the following one. [Ajoute ici un exemple précis, en 2 lignes]
What I'm looking for
A [durée]-month internship from [mois 2026] in communication, brand content, influence, social media or events. Fashion, luxury, beauty, hospitality and lifestyle. Paris, Milan, London, New York, Dubai — or anywhere the work is worth moving for. Available to relocate immediately, French and English on set, and used to being the person who makes the content rather than the one who asks for it.
what I'm made of
• creative• curious
• social
• fashion obsessed
• entrepreneur
• storyteller
The road so far
[ANNÉE]
Baccalauréat — [À COMPLÉTER]
[ANNÉE]
KEDGE Business School
[ANNÉE]
VEA Studio — co-fondatrice
2026
International internship — you?
things I love
drag the paper
Why these images
They have one thing in common: someone decided. The light, the crop, the exact second — nothing here is an accident, even when it looks like one. That is the whole job. I collect the frames that make me stop scrolling, then I take them apart: why that colour, why that distance, why it feels expensive or cheap, warm or cold. What I keep for a brand is never the image itself. It is the decision underneath it.
Brands & people I watch
I watch [MAISON 1] for the way it turns a single object into a whole summer, [MAISON 2] for casting that looks like real life, and [MARQUE / COMPTE] for a tone of voice most luxury houses would never dare. On the image side: [PHOTOGRAPHE] and [DIRECTEUR ARTISTIQUE]. What I take from them is not the aesthetic — it is the discipline of doing one thing per campaign, and doing it entirely.
cinema
frames
keep the feeling,
change the form.
• learning how attention works
• putting the image first
• making my dreams come true
VEA Studio
co-founded with two associates — I run the image
THE IDEA
Three students, one camera, one drone and a market that was being served badly. We started by filming properties and local businesses — technical work, correctly executed, and completely interchangeable. The turning point was realising that clients were not buying aerial footage. They were buying the feeling of a place. So we stopped selling flights and started selling films. [Ajoute : le premier client, la date, ce que vous avez changé]
THE BRAND
I rebuilt the brand from the name outwards: VEA Studio instead of a service description, one typographic system, one way of speaking, one way of framing. The site, the proposals and the social accounts now say the same thing in the same voice. It changed the conversation with clients — we stopped being compared on price per hour and started being chosen on style. [Ajoute : les décisions concrètes que tu as prises]
My role: brand & image, social media, photography, client relation. I write it, I shoot it, I publish it, then I read the numbers and start again.
I own the brand, the image and everything that goes out in public. Production and editing are handled by my associate on the technical side, sales by the third. Which means every frame published under our name has been through me — and that when a client is disappointed by the look of a film, the conversation is mine to have.
Valentine x
Content
Social media
Photography
Results
Films delivered
Clients
Views generated
Months of activity
tes vrais chiffres ici — jamais d'estimation ✎
What these numbers mean
Numbers on a student portfolio are easy to inflate, so here is what mine actually cover: films commissioned, paid for, delivered and used by the client. The project I am proudest of is [PROJET], because [ce que le client a obtenu]. What I would do differently today: [une chose précise]. The studio is still running, which is the only metric that really matters.
building a community.
Mission
Student life is the hardest communication brief there is: no budget, no authority, and an audience that owes you nothing and can smell an announcement from three posts away. My role: [rôle exact], [période], within a team of [taille], covering [type d'événements].
live stories,
after-movie sous 48h
Method
One visual code per event, decided before anything is written. Ten days of teasing that gives away one element at a time, live coverage on the night, and the recap film online within forty-eight hours — after that, nobody cares. Partners are approached with the concept, never with a logo grid. [Ajoute : un imprévu et comment tu l'as géré]
• affiches et déclinaisons
• stories et couverture live
• after-movie et archives
[STAT]
Attendance
[STAT]
Story views
[STAT]
Contents published
What I learned
Four things I use every week since. A deadline attached to a date on a poster cannot move, so the plan is built backwards from it. Zero budget forces the idea to carry the campaign, not the production — the cheapest campaigns I have run were the ones people remembered. A volunteer team is led by making the work look good enough that everyone wants their name on it. And publishing fast without breaking the art direction is a system, not a talent: templates decided in advance, so speed costs nothing. [Ajoute un exemple concret en 2 lignes]
understand
attention.
press the shutter ✎
How I think a content
Everything is decided in the first second. Not by the caption, not by the music —
by what is in frame before anyone has chosen to watch. So I build backwards from that frame: if it does not
stop a thumb, the rest of the video does not exist.
Then the format follows the idea, never the reverse. A gesture is a Reel, a story is a carousel,
an opinion is a face talking straight to camera. I publish on a rhythm I can actually hold —
consistency beats intensity, and an account that goes quiet for two weeks starts again from zero.
I read three things: retention (where they leave), shares (whether it was worth sending to a friend),
and followers gained (whether it was worth staying for). Views are vanity. One content that worked:
[lequel, et pourquoi]. One that failed:
[lequel, et ce que tu as compris]. The second one taught me more.
[STAT]
Views
[STAT]
Followers
[STAT]
Engagement
[STAT]
Audience 18–27
Contact sheet
click a frame to lay it on the table
My eye
I shoot in natural light almost exclusively, close, and I wait. One gesture per frame is enough — the hand adjusting a strap says more than the full outfit. I edit for contrast and grain, never for skin: if a face has been rebuilt, the image has stopped being a photograph. Gear: [boîtier / objectifs / argentique]. The series below: [où, quand, dans quel contexte].
Roll 01 · [À COMPLÉTER — lieu, année]
Valentine · 2026
le dernier bain
A summer capsule campaign for [MARQUE — à choisir]
Brief
Launch the summer capsule with a campaign that lives on social first and sells the drop in one weekend.
Target
18–27, Europe, culture-first. They buy the story before the product and photograph everything they own.
Insight
Nobody posts the holiday any more. They post the last hour of it — the light, the last swim, the end.
Big idea
A campaign that only exists at golden hour: films, filter and drop unlock at 19:47 and disappear at nightfall.
Campaign
Three chapters in one week: the arrival, the last day, the dark. One 45-second film, nine verticals, a poster series.
Social media
A grid cut into one continuous horizon line, a daily sunset countdown, a filter that only works after 19:00.
Influence
Twelve creators, one instruction: film your last swim. No script, no placement, no hashtag.
Event
One long table on a Riviera beach at sunset. Phones welcome, one official photographer, no press seating plan.
Storytelling
Summer campaigns all say the same thing: come, it is beautiful here. Nobody believes it,
because everybody is already there, posting the same pool from the same angle. So the campaign does not talk
about the holiday. It talks about the end of it — the last hour of the last day, when the light goes gold
and everyone becomes sentimental about a place they will leave in the morning.
Chapter one, the arrival: nine verticals shot on one beach, published at the same hour every evening,
each one ending one second too early. Chapter two, the last day: twelve creators receive a single instruction —
film your last swim — with no script, no product placement and no hashtag, so the feed fills with something
that looks like memory instead of advertising. Chapter three, the dark: the drop opens at 19:47 and closes
at nightfall. Whoever misses it, misses it.
The audience does not buy a capsule. It buys the proof that it was there at the right hour.
And the idea belongs to this house specifically because
[explique en 2 lignes pourquoi cette maison et aucune autre] —
that sentence is the one to be able to defend in an interview.
content
• 1 film 45s• 9 verticals
• 1 poster series
• packaging sable
• 1 carton d'invitation
KPIs — objectifs posés pour le concept
[KPI]
Reach
[KPI]
EMV
[KPI]
UGC videos
[KPI]
Sell-through
objectifs de concept — à formuler toi-même en entretien ✎
to — the person hiring
Valentine
Bordeaux · 2026
click to open ✎