Clara Zo’o

For Clara Zo’o, art direction is more than a job; it’s a way of connecting with the world around her. Every day, she continues to curate her taste, build her creative perspective and educate herself on the visual culture that came before her. Her perspective is uniquely shaped by her French upbringing, her move to London and her Cameroonian heritage, inspiring her to look to memories, archvies and culture in her creative work. From founding the online magazine Sal:mender – dedicated to global diaspora stories – to working as a creative for Channel4, Clara puts out the kind of considered work she wants to see in the world. Here, she shares how a pinch of delusion can go a long way as a creative

What I do

How would you describe what you do?
I’m a multidisciplinary creative, working across art direction, creative strategy and design. I come up with ideas and help shape them into visuals and experiences that connect people. I love exploring the human insight behind a project and turning it into something intentional and meaningful, whether it’s through campaigns, brand identity, or conceptual development.

What are the main influences and inspirations behind your work?
A lot of my inspiration comes from where I’m from: my family, my Cameroonian cultural heritage and the places that have shaped me. I was born and raised in France and later moved to the UK for university, which has determined how I see and express creativity. I often dig through my family archives and use fragments of memory or imagery as creative reference points. 

I’m also inspired by music, film and philosophy; they influence how I think about emotion and narrative in visual form. I also find beauty in ordinary things – patterns in nature or conversations with friends. I think inspiration is everywhere if you stay curious and present enough to notice it.

Would you say you need any specific training for what you do?
Not necessarily. I think creativity is something you train in through practice, not just formal education. My background in creative advertising gave me a foundation, but most of what I’ve learned has come from doing, experimenting and being around other creatives. Art direction especially is such a hands-on discipline – it’s about observing, researching, trying things and curating your taste over time. So read magazines, watch music videos, go to film festivals and talks, listen to creative podcasts. Connect with things around you.

It’s also important to know and educate yourself on what has come before you. I love watching archival videos and documentaries, following writers online and researching media theories. I’ve recently started The Africa Gaze, a course and book by Amy Sall, described as ‘a comprehensive exploration of postcolonial and contemporary photography and cinema from Africa.’ I also love watching sociology and philosophy video essays, which feed into my practice in different ways. It’s really about understanding human behaviour, culture, history and the things that shape how we create and connect.

What’s been your favourite project to work on from the past year, and why?
My favourite project this year has been Channel 4’s The Inheritance campaign. It was a rare chance to see every stage of the creative process, from early ideation and treatment development to being on set and witnessing the shoot come to life.

What does a normal day-to-day usually look like for you?
Because I'm currently freelancing, no two days look exactly the same. Some days are heavy on creative development: refining concepts, building decks or researching visual references. Other days are more about communication, catching up on feedback, sending creative updates to clients or reaching out to new collaborators. I try to dedicate time each week to personal exploration too, whether that’s sketching ideas, visiting exhibitions, watching or reading something. The one constant is my playlist – there’s always music playing while I work, it keeps everything flowing.

If there was a starter pack for your job, what would be on it?
My starter pack would include: a folder of visual references; a rotating playlist that jumps from Otis Redding to Theodora to Solange; a notebook filled with half-written ideas; a camera roll overflowing with exhibition photos; and an endless list of open browser tabs. Somewhere in there, you’d find a mix of cinematic colour palettes and the usual chaos of Adobe Creative Cloud apps bouncing in the background.

How I got here

What was your journey like when you were first starting out?
It’s funny because I still feel like I’m at the beginning of my journey. After graduating, I didn’t want to go straight into advertising; I wanted to explore different areas of the creative industry and understand how everything connects. I spent over a year working in production, then I did a Master's in Design and freelanced as a social media art director for a few months. I later interned at a fashion art direction studio, freelanced with a creative strategist, earned a coding certificate because I was curious about creative technology and eventually landed a placement in-house with my copywriter partner at Channel 4.

It wasn’t a linear path and there were definitely gaps in between. But I think trusting the process and giving yourself the space to grow is part of the journey. Each experience has taught me so much and allowed me to be where I am today.

How did you go about landing your first few jobs, clients and/or commissions?
99% of my opportunities have come through networking and reaching out. If I like someone’s work, I’ll tell them. That approach has led to collaborations, jobs, and mentorships that wouldn’t have happened otherwise.

What has been your biggest challenge along the way?
Learning to be kind to myself. The job market right now can be tough, and as a perfectionist, I sometimes spiral into thinking I’m not doing enough. But your job isn’t your whole life. It’s important to take a step back, recognise how far you’ve come and give yourself credit for showing up and trying your best. There’s always more to do, but there’s also value in pausing, reflecting and resting.

How important are social media and self-promotion to your work?
I’m still a little shy about posting my work, but one of my goals is to get better at it. You never know what opportunities can come from sharing your process or connecting with like-minded creatives online. I use my personal Instagram almost like a curation board – a place to share the music, films, artists and places that inspire me. Social media is also a space to show your personality and creative perspective, which is just as important as the work itself.

What are three things that you’ve found useful to your work or career, and why?
Firstly, my family and mentorship: my sister and my mum are my biggest collaborators. They’re not in the creative industry, so their feedback feels really honest and grounded. They help me stay objective and remind me not to get too caught up in my own head. I also have two mentors who’ve guided me in ways they probably don’t even realise. Having people to talk to who’ve been where you are makes such a difference; no one thrives without a strong support system.

Then, balancing work and play. Working on passion projects reminds me why I’m working in the first place. My online magazine, Sal:mender, is a philosophical exhibition magazine dedicated to global diaspora stories. It’s something I’m building both for myself and for a wider community of creatives that value reflection, the preservation of personal and collective memory and active audience participation through storytelling.

Being a little delusional (in a good way). I’ve always been ambitious, and sometimes ambition comes with a hint of delusion, but I think that’s healthy. You have to believe in the possibility of things that don’t yet exist. That small dose of creative delusion keeps you moving forward when logic says slow down.

Have there been any courses, programmes, initiatives, access schemes or job boards you’ve found helpful or would recommend to get into your sector?
If you’re just starting out, free online resources are a great place to begin; YouTube tutorials to learn skills and watching other creatives share their process on TikTok can teach you so much. Joining WhatsApp or Discord groups for creatives is also useful; you’ll hear about opportunities, collaborations, and courses – and it’s a great way to feel part of a wider creative community.

What have been your greatest learnings with making money and supporting yourself as a creative?
I’m still figuring it out, but the biggest lesson so far has been understanding the value of your work. It’s easy to undersell yourself, but you were hired for a reason. Salary surveys like Major Players’ annual census are really useful, while Canva and Creative Lives in Progress offer free templates and guides for invoicing. 

Logo title design for Sat On The Fence by Mrley, produced by Somesuch and directed by Dan Emmerson

My advice

What’s the best career-related advice you’ve ever received?
“All you can do is try your best and stay positive.” My mum has said that to me since school, and it’s something I hold onto.

What advice would you give to someone looking to get into a similar role?
Don’t be afraid to put yourself out there and reach out to people. Understand the kind of creative you want to become, what you stand for, what inspires you and what kind of work you want to make. Message creatives who align with your interests, ask questions and try new things. You learn by doing, experimenting and connecting with others.