I turn company priorities into human stories.

Garnier brought me in to coach its leadership team — including President Marc Balard — ahead of speeches, media tours, and product launches. The work ranged from long-term message development to hour-before-the-lights-go-up coaching.

Two moments stand out. The first was the launch of Garnier’s “High-Tech Nature” strategic vision: a biotech initiative dense enough to lose a general audience in the first sentence. I shaped the messaging so the science stayed accurate while the story stayed human — a narrative global press and employees could actually repeat back.

The second was preparing Marc Balard for the media tour announcing Gisele Bündchen as Garnier’s first-ever global ambassador — a high-visibility moment where the messaging had to hold up under real scrutiny, not just rehearsal.

Twice a year, Qonto’s C-suite — finance, marketing, technology, communications — has to stand on stage in front of the company and make strategy land as something people actually remember. I prepare that group for the Summits: scriptwriting, presentation skills, audience engagement.

The job isn’t one voice — it’s five or six different executives, each with a different comfort level on stage, all needing to sound confident and like themselves. Alongside the Summit prep, I run workshops for managers across Qonto’s European markets on public speaking and impactful communication, so the skill doesn’t stay locked at the top of the org chart.

For more than three years I’ve written communications for VivaTech, Europe’s largest technology conference. During the event itself, that means producing newsletters twice a day for all 180,000 attendees — same news-writing discipline as a broadcast deadline, just with a “send” button instead of a countdown clock.

The work doesn’t stop when the show floor closes. Year-round, I write SEO and GEO articles, summary briefs of tech studies, and content for the Les Echos VivaTech supplement — keeping the event visible and relevant in the months between editions, not just during the four days everyone’s in Paris.

“Quality” is easy to put on a slide and hard to make anyone feel. For Servier’s “World Quality Week,” I wrote the script, hosted, and interviewed four executives on camera to show — not tell — how quality shows up in the company’s actual day-to-day process and values.

The brief was internal communications, but the standard was broadcast: clear questions, tight edits, executives who sound like people rather than press releases. It’s the same instinct that shaped years of live TV interviews, aimed at a company’s own workforce instead of a global news audience.

A global workforce doesn’t get to know itself by accident. For AXA, I hosted multiple podcast series — Radio Go! and IM Talks — built to introduce employees to the teams and projects shaping the company, across offices that will likely never sit in the same room.

It’s a format that rewards the same skill honed over a decade of live interviews: get someone talking like themselves in the first thirty seconds, and the rest takes care of itself.

L’Oréal Brandstorm is the largest youth innovation competition in the world, and its finals are a multi-day live production with real stakes for the students on stage. For the 2025 and 2026 editions, I worked across production and scriptwriting for the event, and coached participants on performance before they walked out under the lights.

It’s live-event pressure in its purest form: no retakes, a script that has to hold together in real time, and people who’ve never been on a stage like this needing to look like they have.