Works
Selected works exploring the intersection of fashion, event production, and spatial design.
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​My first collaboration with TremeEats took place inside an active marble quarry in Dionysos, a vast sun-bleached landscape of dust, wind, and echo. What started as a passing idea became a full spatial narrative as guests arrived in quarry vans driven by the workers themselves, entering a raw industrial site transformed for one night.
The evening unfolded as a slow procession, beginning around monumental marble blocks that served as natural tables and leading toward a deep cave carved into the mountain where dessert and music awaited. With minimal resources, every detail was handmade, from the menu designed for heat and transport to the lighting system wired through stone with coloured LEDs. A fire on the day of the event caused a total power loss, but the space came alive under improvised light, a spontaneous harmony of risk, relief, and celebration.
First Event | Dionysos Quarry
July 2024
First Client | Ouzo Factory
December 2024
Our first official client brought us to an old ouzo factory in Piraeus, a monumental block of concrete with haunting acoustics. Working with a client introduced new restrictions and expectations, yet also gave us a slightly larger budget to experiment with. Access to the space was granted only four days before the event, forcing us into an intense rhythm of problem-solving and improvisation. Between sleepless nights, we became electricians, lighting designers, architects, and food curators all at once, transforming a raw industrial shell into a sensory environment. At its center stood a large metal table filled with water, lit from the surrounding walls so that ripples danced across the ceiling and animated the vast emptiness above.
Fashion event | Dionysos Quarry
April 2025
Our first collaboration with a fashion brand took us back to the quarries of Dionysos, this time to a vast complex of interconnected caves with balconies and chambers carved into the stone. The space itself dictated the concept, with each area hosting a different part of the experience, from dinner to performance to the after party.
For me, it was an especially exciting project as it marked my first involvement with a fashion house whose work I had long admired, and I quickly saw how fluid and adaptable the industry can be. With a larger budget, we could finally expand the team, bringing in production crews, lighting engineers, caterers, DJs, models, and artists all working in sync. Yet it remained one of the most demanding projects to date, from coordinating dozens of people under tight timelines to moving literal tons of marble with cranes to create perfectly level tables and benches.
On the night, the adrenaline was constant as we oversaw every element, from guest arrival to sound, catering, and flow. When the rhythm of the evening finally settled, the atmosphere felt electric, a seamless dialogue between fashion, space, and stone.
Fashion Activation | Athens & Piraeus
June 2025
This project marked my second collaboration with a fashion brand and my first experience managing large-scale activations across multiple locations in Athens and Piraeus.
The process began in May with weeks of planning, communication, and coordination between DJs, models, photographers, and production teams. By late June, we entered an intense period of daily site visits, equipment sourcing, and full-day setups, often working from dawn until after midnight to prepare the installations and live performances. Each day demanded split-second decision making, from handling permits and sound checks to resolving last-minute technical issues and calming tensions among collaborators.
Between the Ermou and Piraeus activations, I found myself managing logistics, production flow, and interpersonal dynamics all at once. It was a physically exhausting but creatively rewarding experience that deepened my understanding of how detail, timing, and composure shape the rhythm of a live fashion event.
Fashion TV Show | Attica
Q2 2026
Working on GNTM for four months was my first experience inside a large-scale television production, and one of the most demanding productions I have worked on to date.
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We began at the Skaramagas shipyard, transforming a huge abandoned ship storage space into a fully functioning runway and filming environment. With little existing infrastructure beyond the roof, everything from power generators and technical setups to camera, sound, access and crew logistics had to be built around the production. From there, we moved between a second runway beside a ship, an underground studio used for weekly episodes, and locations across Attica for individual photoshoots. Alongside the production director, I worked across equipment, transport, accommodation, call times, location preparation, setup and dismantling, while coordinating with photographers, stylists, models, technicians, electricians, camera and sound departments during filming. Working six to seven days a week, sometimes for 20-hour shooting days, pushed my endurance and ability to stay focused under pressure.
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What I valued most, however, was being able to observe and work alongside so many different people — from photographers and stylists to electricians, technicians, the DOP and director — and understand how each approaches their role and what they need from the production around them. It made me more confident not only in managing demanding environments, but in navigating the many different disciplines that come together to make a production work.
