02_ Made In Baltics – Media Manager, General overview
At Made in Baltics, I handled marketing, PR, and communications for over ten artists, developing release strategies, shaping visual and brand direction, coordinating media outreach, and managing content around campaigns. The role combined strategic planning with hands-on execution across artist branding and promotional work.
Overview
My aim at Made in Baltics was to support each artist in a way that felt clear, coherent, and true to their identity. I focused on shaping the visual and communicative side of releases — making sure the branding, messaging, and promotional steps all worked together rather than pulling in different directions. The goal was simple: help artists show up in a way that feels intentional, recognisable, and aligned with their work.
A Selected Few
Ariadne “Queen of My Own”
Ariadne’s single “Queen of My Own” released in 2019 gave us an oprotinity to rebrand her image that required repositioning Ariadne from a teen-influencer audience toward a more defined female artist. My role was to build the visual concept and manage the full creative process — from narrative direction to execution across design, styling, rollout, and fan engagement. The core idea was to keep her recognisable softness while introducing a clearer, more confident identity.1) Background
Ariadne’s “Queen of My Own” marked a turning point for Ariadne: a move away from a teen-focused influencer persona toward a more intentional artist image.
My task was to develop a visual identity and campaign structure that supported this shift — something that felt true to her, but offered more depth, maturity, and direction.
The art direction focused on showing Ariadne as more intentional and grown, without losing the softness her audience recognised.
Silhouette & styling
A structured silhouette and tailored suit introduced a clearer, more adult presence. The look stays within her aesthetic universe but adds weight and direction.
Rhinestone bat
The bat became the central symbol — a normally aggressive object reworked into something feminine and iconic. It communicates confidence without abandoning her “princess” tone.
Halo & framing
The halo was chosen as an alternative to a literal crown — a way to express a self-made, inner sense of power rather than a decorative symbol. It acts as a focal point and a simple, repeatable signature for the imagery, framing her as the author of the scene rather than just its subject.
Colour & light
Pop colours and gradients were kept, but with more contrast and depth. This supported the shift from light influencer content toward a more defined artistic identity.
Together, these choices created a look that felt familiar but more controlled — a visual step toward the artist she was becoming.
To make the rebrand feel lived-in rather than just visual, I planned a rollout that connected the new identity with her audience.
Launch installation
For the premiere, I created a large poster where fans wrote insecurities or old patterns they wanted to leave behind. At the end, everyone punched through it — a simple, physical gesture that matched the tone of the single.
Makeup challenge
Because Ariadne originally grew largely through her makeup content, I used that as a bridge into her new image. Fans were encouraged to create their own makeup the look, that represents the “Queen Inside”, they posted it, and tagged the single. It helped carry the rebrand into something her community could take part in.
Instagram filter
The halo and colour palette were turned into a filter so the main visual elements could move naturally across social media and become part of the release.
Outcome
The goal wasn’t just to create new photos — it was to reframe how Ariadne was seen.
The campaign helped introduce her as a woman and an artist with more defined intention, while keeping the parts of her identity her fans were attached to.
The visual language relies on soft light, neutral surfaces, and realistic lifestyle imagery.
The aim was to keep the identity grounded and unforced: no stylisation that competes with product photography. Spacing and quiet backgrounds carry most of the tone.
Gram-Of-Fun - Reservation feat. Levski
Filmed Together, Released Together
This project combined a release party, a music video shoot, and a marketing campaign into one event. The idea was simple – use the band’s existing community and turn the launch into something people would genuinely want to share, and it became a very effective way to promote the single.
We invited a small group of fans and friends to a live performance and encouraged them to film the show on their phones. The professional crew shot alongside them, and the final video blended both viewpoints.
The result aimed to look both personal and geniuine, it naturally aligned with how the band’s audience already interacts with them and their music. It also became one of the first music videos I directed, built directly out of this shared perspective.
Because everyone was filming and posting in real time, the event created its own momentum online. The audience became the first wave of promotion without being instructed to “promote” anything — they were just sharing an event they got to participate in and enjoyed.
The whole thing was small, warm, and low-budget, but the structure worked, as this one event gave us a finished video, a release moment for the single, and organic visibility across social media. It showed how a simple idea, if timed well and rooted in the artist’s own community, can function as a very effective campaign.
Frankie Animal – “Restless”
(COVID Release Concept)
The idea came from the title itself — Restless. Everyone was stuck at home during COVID, and the mood fit the song.
I wanted to find a way to turn that feeling into a shared moment and, at the same time, promote the single in a way that didn’t feel forced or out of step with the restrictions.
We partnered with the Noblessner cocktail bar Kaif, who created a custom “Frankie Animal” drink that was bottled and delivered by the band to friends, influencers, and early supporters. Each came with a note, making it feel personal rather than promotional.
The launch “party” took place at Kaif but was streamed live on Raadio 2, so people could join from their homes, drink the same cocktail, and be part of the moment together. It turned the limitations of COVID into a simple release concept that connected people and gave the single a natural push.
So to sum it up...
During my time at Made in Baltics, my work sat somewhere between creative direction, marketing, and very hands-on coordination. I shaped how our artists appeared across media, planned releases, and came up with ideas that made it easier for radio hosts, journalists, and partners to pick them up. I worked closely with Raadio 2, Sky Media and others, creating small games, formats and talking points that lifted some of the weight off the press and naturally opened doors for our artists.
Most of what worked came from simple, fast ideas rather than large campaigns — small guerrilla moments, community involvement, and releases built around what felt authentic to each artist. It was a period of moving quickly, paying attention, and finding ways for projects to gain momentum without big budgets.
In practice, it meant carrying both the creative and the practical sides: shaping the tone, identifying opportunities, and making sure each release had a clear and human way to reach the audience.