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Adhemas Batista
Chief Design Officer
A Brazilian-born, self-taught designer and visual artist based in Los Angeles, Batista began his journey at 15 as a web designer. He has since earned an Emmy nomination and won the Grand Prix for Good at Cannes Lions in 2016 for the animated short “Malak and the Boat,” highlighting the Syrian refugee crisis. Last year at Deutsch, he helped shape a new brand platform and visual identity for Dr Pepper and led the agency’s rebrand from Deutsch LA to Deutsch, among other projects.
A 2024 campaign you’re proud of:
Last year, I spearheaded our work with Adobe, helping their suite of creator brands make compelling organic social content. This meant developing a different dynamic team approach that enabled us to ideate and make content fast. We had designers team up with copywriters, who then collaborated with editors, animators and producers. We produced over 150 unique videos. While leading a design team of over 30, I still love diving into the design process.
Someone else’s work you admired recently:
There’s a lot to admire, but if I had to pick one, it’s Studio Dumbar. Their work has a vibrancy, motion and edge that inspires me and aligns with the direction I strive to push in our own work.
Something you’re excited about creatively in 2025:
Advancements in AI-driven creative tools will continue at a fast clip in 2025. With innovation and the fusion of visual trends, there’s potential for a creative renaissance by the decade’s end. I’m excited to shape this unique identity and hope it’s recognized for moving culture beyond the aesthetics of past eras.
Droga5
Mia Rafowitz and Cara Mia Cecchini
Creative Directors

Cecchini and Rafowitz have been a team at Droga5 for almost five years, following stints at Johannes Leonardo and Grey. They were promoted to CDs at the end of 2023. In 2024, they led major creative efforts for global campaigns, including HP and Accenture.
A 2024 campaign you’re proud of:
Rafowitz: One piece we’re especially proud of from 2024 is “The Wrong Kind of Busy” for HP. It’s a VO-driven piece that speaks to our culture’s obsession with busy work, ultimately showing how AI can help us get back to the work we love. Crafting it was its own form of catharsis from the corporate world—it was almost like method acting, and the irony wasn’t lost on us that we were incredibly busy with … a film about being busy. Like any piece of writing, the script was continually changing and evolving, which was part of the fun of it. Crafting it was an incredible challenge—finding the perfect cadence of each stanza, nailing the build and then ensuring there was truth in every line. Where we landed is something we're really proud of: a deeply relatable, human piece that hurts so good.
Cecchini: I’m really proud of our product spot “Tap” from this campaign. Product demos always feel like they’re going to be cut and dry—you’re going to watch someone working on their laptop. Then you add in that it’s an AI computer, and you’re already starting on the back foot as to how it might be received. We talked a lot about keeping the spotlight on humanity, and in its simplest form, our hero’s ideas come alive on her fingertips, but it was really important to us that the craft and stylistic detail carried that spirit through, even dropping frames for a more hand-keyed animation feel. The end result found an imaginative, memorable and fresh energy and visual articulation for a legacy brand.
Someone else’s work you admired recently:
Rafowitz: I recently saw Vannesa Baird’s “Go Down With Me” exhibit at the Munch Museum and loved it. Her work is hysterically irreverent and painfully frank. It’s a bit sick even, at times, which makes it even more fun. I love how confrontational each piece is—whether with the subject matter itself or a hidden poem within it, she challenges conventional aesthetics and subverts traditional beliefs about femininity in a way that’s unique and sticks with you. I also recently was sent @darby_hudson to follow on Instagram, and his writing is absolutely brilliant. Sharp and irreverent. Highly recommend if you’re in the mood to laugh at our shared existential dread.
Cecchini: e.l.f.’s “So Many Dicks” campaign—incredibly bold and smart. I love to see work out in the world and think, damn, I wish I made that. And Adam Parker Smith’s “Crush” series—he takes classical statues and crushes them into a cube then casts them in stone. It’s a great visual for the way the inside of my brain feels sometimes.
Something you’re excited about creatively in 2025:
Rafowitz: Shifting from reacting to culture to being proactive. Advertising is at its best when we can use our creativity to make a difference, but if we’re always waiting for sh*t to hit the fan before doing something impactful, we’re already too late.
Cecchini: I’m curious about the impact of the potential TikTok ban. That platform has impacted the advertising and creative world so much, and I’m excited to see how this can push us to find more creative ways to use other platforms. A shift in what consumers expect/want to see from brands on other platforms feels inevitable yet exciting.
Fallon
Caitlin Fitzgibbons
Creative Director
Fitzgibbons joined Fallon in April 2023 and these days works primarily on the Walmart business. An art director by trade, she’s had a full advertising journey—starting as the talent as a baby model, followed by interning as a production assistant, through traffic and account management jobs, as well as lots of writing and performing experience through 10-plus years of sketch comedy.
A 2024 campaign you’re proud of:
The 2024 holiday campaign we created with Walmart, “Give the gifts that show you get them.” It was incredibly fun imagining what the perfect gift would look like for beloved TV and film characters from SpongeBob SquarePants to Lorelai Gilmore, and I loved the ways we uniquely brought each spot to life to honor the fanbases. The campaign even included the first-ever shoppable ambient room for Luke’s Diner of “Gilmore Girls” fame.
Someone else’s work you admired recently:
There are several pieces of work from last year that I still can’t stop thinking about: “DoorDash All the Ads,” Gap and Jungle’s “Linen Moves” campaign featuring Tyla, Molly Baz on the cover of the Special K box, and Levi’s “Launderette” reimagined with Beyoncé. Each broke through in such a memorable way, stayed true to the brands and for sure made me a bit jealous.
Something you’re excited about creatively in 2025:
I get excited about what’s next in culture, tech and media and how those things might collide in a playful, smart or unexpected way. Given the questions around TikTok right now, I think it could open a lot of unknowns, which is always a blank canvas for creativity.
Founders
Katie Reid and Kristin Mizushima
Creative Directors

Reid and Mizushima are the firepower behind some of Founders’ most influential work for clients such as Netflix’s (“Squid Game” season 2), Heinz, Casa Azul Tequila, “We❤️NYC,” Seagram and more. In 2025 they will be leading the global “Squid Game” season 3 campaign and a big Lipton campaign set to launch in the first quarter. Reid is based out of New York, Mizushima out of Miami.
A 2024 campaign you’re proud of:
Reid: Serving as lead agency and creative team for Netflix’s global campaign for “Squid Game” season 2 was truly an honor, to say the least. The Netflix team are such amazing collaborators, and there is no greater satisfaction than a symbiotic relationship between agency and client.
Mizushima: The “Squid Game” season 2 campaign showcased our agency’s strengths in both creativity and production at a global scale. It felt good to show the world what we could do with our fantastic Netflix partners.
Someone else’s work you admired recently:
Reid: Burger King’s “Bundles of Joy” by BBH really hit home for me. When my twin and I were born, the first thing my mom asked for was a burger—can’t say it was delivered as quickly as a BK order, but the powerful insight is there. What a campaign.
Mizushima: “The Last Barf Bag” for Dramamine from FCB Chicago proves that a stellar insight, a sense of humor and a risk-taking client can transform even the most ordinary product into something memorable. Having started my career at FCB Chicago, I always enjoy keeping an eye on the incredible work they continue to produce.
Something you’re excited about creatively in 2025:
Reid: We’ll undoubtedly see more AI, but I’m most excited about brands placing greater emphasis on aligning with their audience’s values. The value reckoning is here, and it’s bound to awaken and reshape perspectives across our industry.
Mizushima: In 2025, I’m eager to see brands focus on entertaining and bringing joy. While purpose-driven work can be powerful, it often feels insincere coming from corporations. In a world already filled with conflict and inauthenticity, it’s more important than ever to create moments of positivity and connection.
Goodby Silverstein & Partners
Hanna Wittmark and Kate Baynham
Creative Directors

Wittmark and Baynham have worked as a creative duo at GS&P for over a decade. In that time, they have worked on clients including Boston Beer, Califia, Xfinity, Adobe and the UN. Most recently they launched a campaign around the premiere of “Wicked” showing how Xfinity helped Ariana Grande and Cynthia Erivo stay connected to their dream roles and each other over their lives. They also led the pitch to win a piece of the General Mills business, adding Pillsbury, Gushers, Fruit by the Foot, Progresso and Betty Crocker to the agency roster.
A 2024 campaign you’re proud of:
Baynham: We recognized very early on that our campaign for Xfinity and “Wicked” was a rare opportunity and we needed to make more than the most of it. Finding the tweet really unlocked all of it, which feels like fate. With our small team, working with the filmmakers and the support of the Xfinity clients, we put our blood, sweat, tears, airline miles, heart, overall mental well-being, etc., into this project, and we feel it really paid off.
Someone else’s work you admired recently:
Wittmark: We’re huge fans of when a simple and smart idea can dominate the conversation, and “Doordash All the Ads” in particular really nailed that. It showed off the product benefits on the biggest stage in the world. Super functional and unignorable.
Something you’re excited about creatively in 2025:
Wittmark: We’re mostly excited to have another year working together. We’re also stoked to find new ways to make the most out of not a lot.
Baynham: It’s no mystery that budgets are smaller, but if that limits your creativity, you might be doing it wrong.