The homepage was originally set up to introduce people to Aescape and how robotic massage works. However, over time it became clear the page wasn't efficient in directing people to book massages. Also, majority of the traffic was coming through mobile visits yet the website was designed with desktop experience as the primary one.
To optimize the website in both mobile and desktop view we:
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Reorganised the links in the top navigation
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Reduced the amount of modules present on the homepage and consolidated others.
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Collected the preview videos into an automatically rotating carousel, rather than a scrollable stack of videos taking up a lot of mobile real estate.
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Introduced massage library section just below the hero. It informs users about available options, encourages them to select a massage and book immediately.
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Made sure that in mobile view the new massage library appears within a carousel. To encourage scrolling horizontally, we show a glimpse of next massage card and have a sliding bar graphic below CTAs.
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Updated the location graphic to show an accurate representation of where in the US Aescape is available, moved it up in the page and encouraged users to find a location near them.
Art Direction & Design:
Laura Dirzyte
Content Strategy & Copy: Kim Miller, Dominic Gagliardi
To promote Equinox-exclusive Aescape massages we created a co-branded promotional campaign. Massages were designed for Precision Run® program to help runners train and recover smarter.
We set art direction to show driven modern people pushing themselves to the max. To stand out from the usual Aescape campaigns set in full color and to align with Equinox style, we set this campaign in black & white, high contrast visual style.
Amplified with blinking lights, energetic music and quick cuts, the campaign promoted new massages in a modern, energetic and engaging style. The campaign drew in engagement over paid social channels and email promotions.
Creative Direction, Design & Animation: Laura Dirzyte
Marketing & Copy: John Hauer
2025 marked 100th anniversary for The New Yorker. To promote this centenary celebration we developed a brand-led campaign across multiple channels.
We had a challenge to distill the 100 years of legacy into a tagline that also notes how the brand is looking ahead into the future to come. After many discussions we arrived to a line encompassing this idea: Here’s to the next hundred.
Campaign’s designs extended editorial team’s visual language and celebrated The New Yorker magazine’s unique combination of wit, intelligence, journalistic integrity, globally recognizable art-driven covers and the ability to poke fun at itself by acknowledging how much people love the tote bags.
Speaking of limited-edition totes, the centenary year also needed a subscriber-exclusive tote. After exploring a range of options with the editorial team, we decided to use the seal illustration by Christoph Niemann on a royal blue background.
Another phase of the campaign featured Eustace illustrations drawn by Luci Gutiérrez. Working closely with Luci we created additional frames for character animations that feature across different advertising units.
Creative Direction: Thais Klein, Nicholas Blechman
Art Direction, Design & Animation: Laura Dirzyte, David McLachlan
Copy: Michael Polovsky
Illustrations: Christoph Niemann, Luci Gutiérrez
The New Yorker was looking to refresh their marketing design templates and a key part of the acquisition communications was the email. The refresh consisted of several parts: UI elements needed to match The New Yorker digital product style guide, header needed to be more engaging and subscription option components needed fresh visuals.
To simplify the design we dropped different colors for each subscription module and instead set them up in shades of yellow. Noting the most encompassing subscription in the most saturated shade and the simplest subscription in least saturated color.
New illustrations by Joao Fazenda were introduced for each component, too. They noted the level of engagement with the content through interaction with a butterfly.
The illustrations are a subtle nod to the first cover of The New Yorker and show modern interpretations of the Eustace Tilley character.
Art Direction & Design: Laura Dirzyte
Copy: Michael Polovsky, Stephen Milioti
Butterfly Tote Photoshoot & Animation: Raj Shah, Chris Brown
New Personae Illustrations: Joao Fazenda
At significant moments in the global news agenda The Economist journalism has gained recognition and value that reaffirms brand purpose. This campaign started during a very uncertain period in the world: the war in Ukraine had just begun; in many countries, people were still dealing with the aftermath of covid-19 and cost of living had started to rise.
In these unprecedented times, we wanted to highlight the newspaper as a dependable resource for trustworthy information that audiences could turn to for different perspectives.
For this campaign we wanted to build on the legacy of the “white-out-of-red” ad style that The Economist is already known for. We brought this design language into the digital environment by using interactive and animated designs.
“Bring the world into focus”, “Sharpen your understanding” and “Perspective changes everything” were our three headlines that we landed on to empower the reader. The Economist enables people to see things from different perspectives with clarity, global-mindedness and the rigour of balanced, informed opinion.
The text-led HTML5 ads were the interactive pieces placed in various online media sites that our target audience frequents. Ads showed partially blurred headlines but once a viewer hovered over the ad with a mouse the headline came into focus.
This responsive HTML5 format ability allowed us to amplify the message as well as show individuals that they can sharpen their understanding by directly interacting with The Economist.
Awareness plan was focused on five different categories, including display, video, audio, social and dOOH (Grand Central Station in New York City).
This campaign won at The Drum Awards 2023 in Digital Advertising: Media and Entertainment category.
Creative Direction: John Long (concept), Ruth Azar, Laura Dirzyte
Design and Animation: Laura Dirzyte
Copy: Ruth Azar