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Sienna S.J. Son

Data-driven creative strategy · AI filmmaking · Brand

Where brand intelligence meets creative imagination.

I connect sixteen years of brand, commerce and consumer insight with hands-on AI creation, to help creative teams turn AI experimentation into repeatable work that still looks like their brand. Self-initiated AI films and campaign concepts, created and directed end to end, backed by a career in e-commerce, analytics, digital product and UX, and marketing across global beauty and fashion brands.

Seoul-based · Open to senior in-house roles and remote collaborations · English & Korean

View selected work Contact me

Selected experience Fendi (LVMH) L'Oréal Luxe The Estée Lauder Companies

Selected work

Three AI films, three creative languages.

A satirical character story, a luxury brand world and a speculative history, each directed end to end with an AI pipeline. What they share is a point of view: a polished surface, and underneath it a person negotiating between what a system asks of them and who they are. All three were made solo between March and September 2026 (Ba, then Gyeolbit, then The Right Fit), every role from script and wardrobe to edit and grade. Every frame was generated; every cut, grade and line of type was placed by hand.

Ginger, a gingerbread girl with pink hair, asleep in her pastel-pink candy bedroom, two gummy bears on the sofa by the window.

The Right Fit

AI stop-motion short · 3:35 · Sep 2026

Directing an idea, a character and a story, in a tactile look that doesn't read as AI.

A woman in a pale green hanbok-inspired gown reclines on a chaise in a hanok room lit by low golden sun, painted folding screens behind her.

Gyeolbit

Self-initiated campaign film · 0:42 · May 2026

Designing a brand concept and the world that carries it: locations, light, wardrobe.

Ba

Concept film · 3:00 · Mar 2026

Interpreting culture and history through three characters' emotional lives.

Selected career cases

Evidence from the career.

Three examples from the career: one on getting an enterprise platform into daily use across markets, two on turning data into a decision. Scope and numbers refer to the part I led.

Enterprise platform adoption · L'Oréal Luxe APAC

Fit the platform to each market's workflow, and feed back what doesn't fit.

Platform: Salesforce Commerce Cloud capabilities for all five Luxe brands: Lancôme, YSL Beauty, Armani Beauty, Kiehl's and Shu Uemura.
Markets: Korea, Japan, Taiwan and Australia, each with its own team and requirements, supported from the APAC regional team.
Workflow: Gathered each market's requirements, translated platform functionality into practical workflows the local teams could run, and ran training and demos for the teams.
Feedback loop: Took adoption friction and feature requests from the markets back to HQ and Salesforce, and reviewed feature adoption and usage with the Salesforce team.
Result: Shorter market launch times and lower feature-customization costs.

Charles & Keith Korea · Head of E-commerce · 2022 – 2024

Fix the funnel first, then buy the media around it.

Situation: Korea e-commerce end to end: D2C, digital performance and online merchandising, measured on conversion and return on ad spend.
Insight: A purchase-funnel exit analysis showed exactly where shoppers were leaving before checkout.
Decision: Fix the funnel before buying more traffic, then re-plan paid media around it, with audiences and creative formats treated as one system.
Execution: Worked through the changes with the performance marketing agency, and applied the same analysis to seasonal buying for online merchandising.
Result: B2C conversion rate +33% year on year; return on ad spend 3× within three months.

L'Oréal Luxe · UX Manager, APAC Regional · 2017 – 2019

Test rather than assume, and bring the evidence to HQ.

Situation: Five brands (Lancôme, YSL Beauty, Armani Beauty, Kiehl's, Shu Uemura) across five markets (China, Japan, Korea, Australia, Taiwan), with content decisions made at HQ.
Insight: Heatmaps and session recordings, which I implemented for the Luxe division, showed how shoppers actually moved through the sites, and where the markets differed.
Decision: Run an A/B and multivariate programme across the five markets, one variable at a time, and read it through funnel analysis.
Execution: Ran the programme with the market teams and shared each test's hypothesis with the HQ content team.
Result: Conversion uplift of up to +54.2% in the best-performing test; consumer-behaviour evidence became part of HQ's APAC content decisions.

The films, in detail

Watch, then read the director's notes.

Each film with its idea up front, and the notes on direction and production one click away for anyone who wants to go deeper. Sound on.

01The Right Fit

AI stop-motion short · 3:35 · Sep 2026

Satire · character · concept

Ginger, a gingerbread girl with pink hair, asleep in her pastel-pink candy bedroom, two gummy bears sitting on the sofa by an arched window onto lollipop hills.

What happens when the world asks us to fit?

A gingerbread graduate, and a corporation that stamps every worker into the same mold.

The idea

Fit in, or stay yourself. The world's most familiar cookie, rebuilt as a workplace comedy about the job interview. Ginger, raised in the warm pastels of Candy Land, interviews at BATCH, a grey corporation that screens applicants with a press machine: anyone who doesn't match the mold is crushed; anyone who does is hired. Ginger passes. That is the problem.

The look

AI makes one kind of beauty effortless: smooth, glossy, plastic-perfect. For this film I wanted to show the opposite is possible too, a look specific enough that the first reaction is "Wait, this is AI?" Every surface is confection, biscuit crumb, royal icing and sanding sugar, so it reads as edible, and every character as something that can be cut.

Read the director's notes

Creative direction

Cinematic tactile macro.

Hand-decorated gingerbread, the camera close enough to read the crumb and the piped icing.
No wet look, lacquer or high gloss on any candy: confection reads by shape and shadow, not by highlights.
Candy Land is warm; the corporation is flat, fluorescent and desaturated, and Ginger is the only pastel in the frame.
A world with rules: no metal in Candy Land, steel only in the corporation.
Three bake levels drive the characters: Nano Micro, the boss, half-baked and quick to dent; Ginger, baked right; Ash, the mentor, over-baked and burnt out by years of work.

The message

A cynical, affectionate critique of corporate systems that manufacture standardized smiles, and of the bosses who never have to pass their own test. The ending was rebuilt around that line: the boss becomes the machine's final applicant.

AI production

Role: script, production design canon, prompt architecture, generation and edit.
Made the way an animation studio works, not the way a prompt is typed: a written production canon set the materials and kept a registered cast of characters, locations and props consistent across multiple rounds of production.
Visual judgment, supported by structured consistency checks, with colour verified against the canon by object-mask measurement.
Generated lettering came back misspelled, so no text is generated: every sign and caption is composited by hand.

The gingerbread girl rides a bicycle down a candy-lined road toward the city. — 01:20 · Road to the city

Ginger sits alone on a steel bench in a dark grey chamber, the only pastel in the frame. — 01:55 · The chamber

The gingerbread girl sits at a grey office desk in the corporation. — 02:40 · The corporation

02Gyeolbit

Self-initiated campaign film · 0:42 · May 2026

Luxury · brand world · visual poetry

A woman in a white tulle dress stands on a mist-covered lake at dawn, a Korean pavilion behind her among autumn trees.

What if beauty is the light along our own grain?

The light that shows along a person's own grain.

The idea

Beauty as a person's own grain, not perfection. Gyeolbit is a coined word: 결 (gyeol), the grain of silk, skin or water, and 빛 (bit), light. In a world shaped by sameness, the film treats beauty as the light that shows along someone's own grain: quieter than radiance, more delicate than aura.

Read the director's notes

Creative direction

Korean visual heritage × contemporary luxury × movement × light.

Three locations, one continuous light narrative: a mist-locked pavilion lake at dawn, a hanok interior in low sun, a pink muhly field at dusk.
Wardrobe designed for the film: sheer jeogori blouses, corset bodices, tulle.
Faces, hair and styling locked across every shot, as if it were all one morning.

AI production

Role: concept, visual direction, costume design, prompt architecture, image and video generation, edit and colour grade.
Fabric directed for slow motion; water and grass shots mastered at 120 fps.
Delivered as an 8K master.

A woman in a white tulle dress spins on the surface of a lake, water splashing at her feet. — 00:09 · Lake, dawn

A woman reclines in a hanok room lit by low golden sun, a painted folding screen behind her. — 00:16 · Hanok, low sun

Two women in pastel dresses walk through a pink muhly field at sunset. — 00:34 · Pink muhly, dusk

03Ba

Concept film · 3:00 · Mar 2026

Culture · identity · emotional direction

Three women in gold and ivory gowns stand under a pine tree on a Korean mountainside at sunset.

What happens when that identity finds its voice?

If Cleopatra, Queen Seondeok and Elizabeth I had been born now.

The idea

Three queens, born now. Ba borrows its name from the ancient Egyptian word for the part of the soul that can leave the body and return. Three queens wake inside an ink-wash painting and walk into the present: Cleopatra at the United Nations, refusing once more to be anyone's trophy; Elizabeth I in Parliament, recalling the day she told an army she had the heart of a king; Queen Seondeok of Silla, patron of one of the world's oldest observatories, before a room of scientists, taking on the questions nobody funds.

Read the director's notes

Creative direction

History × the present tense × three faces held across three worlds.

Each queen's identity locked from the painting to the podium to the street.
Wardrobe designed for each queen's present-day life: Elizabeth's navy suit with its lace collar, Seondeok's lilac hanbok and gold Silla crown, Cleopatra's gold against a modern silhouette.
The finale staged on real ground: Gwanghwamun Square, under the statue of King Sejong.

AI production

Role: script, creative direction, costume design, prompt architecture, image and video generation, edit and composited Korean subtitles.
Delivered as an 8K master.

Cleopatra in Egyptian gold jewellery, in close-up, lit by warm sun. — 01:18 · Cleopatra, United Nations

Elizabeth I in a navy suit with a lace collar speaks at a podium in a wood-panelled parliament. — 01:44 · Elizabeth I, Parliament

Queen Seondeok in a golden Silla crown and lilac hanbok, looking out at sunset. — 02:18 · Queen Seondeok, Silla

Capabilities

How I can contribute

For consumer brands: customer insight, brand and channel context, the creative brief and the test plan, connected. For AI companies: the link between the tools and the way brand teams actually work, from hands-on workflow and output quality to adoption on real briefs and product feedback.

01 · Strategy

Creative strategy

From business problem to creative brief: audience insight, brand and channel context, the idea and the measurement plan, written so a team can act on it.

02 · Direction

Brand storytelling & direction

Concepts, worlds, casts and wardrobe built for a brand: films, campaign stills and the visual system that holds them together, in English and Korean.

03 · Film

AI filmmaking

Directing end to end with an AI pipeline: script, production canon, prompt architecture, generation, edit and grade, to a delivered master and cutdowns per channel.

04 · Adoption

AI adoption & workflow

Working alongside brand teams on real briefs to find where AI adds value and where it adds friction, then making it repeatable: prompt libraries, style canons, asset registries and the workflow to run them. For AI companies, the same work inside their customers' teams. The same work, before AI: Salesforce Commerce Cloud adoption across four APAC markets at L'Oréal Luxe.

Process

My approach

How my own films were made, and how I would run a brand project: from business problem to brand strategy, creative concept, AI direction and execution, and back to the numbers.

Brief and commercial frame
What the asset has to do, where it runs, in which market, and what we will measure.
World and cast
Locations, characters, materials and palette written down as a canon before anything is generated.
Prompt architecture
A shot list, identity-preserving references, and edit prompts that name everything that must not change.
Generate, judge, iterate
One variable at a time. Visual judgment first, supported by structured consistency checks on colour and material.
Edit, grade, type, sound
Composited lettering, a colour narrative, sound design, and cutdowns for each channel.
Deliver, measure, codify
Delivered to channel spec and read against the performance data; what worked, and what didn't, becomes a workflow the team can repeat.

Background

Sixteen years of consumer brands, from almost every angle of how people buy.

Digital analytics, then digital product and UX, then e-commerce and omnichannel, then marketing and PR. Sixteen years in Korea and across APAC, client-side and consulting, at brands including The Estée Lauder Companies, L'Oréal Luxe, Fendi (LVMH) and Charles & Keith, running the numbers the creative had to move. My creative direction starts from understanding why people buy, not from intuition alone. Next: a senior role that brings this commercial insight into AI-native creative direction. Lived in five countries, Korea, Hong Kong, Singapore, Australia and New Zealand, which is where the global sensibility comes from.

View full résumé

+292%Amazon US sales, year on year, Sep 2026 month to date as of Sep 26, while leading US marketing and PR, Arocell (FICC)
30+Regional and country digital teams trained as subject-matter expert, building in-house analytics capability across APAC, The Estée Lauder Companies
3×Return on ad spend, tripled within three months of re-planning audiences and creative, Charles & Keith Korea
+33%B2C conversion rate, year on year, from purchase-funnel exit analysis, Charles & Keith Korea
+60%Fendi.com Korea revenue, year on year, from analysis-led online merchandising and newly activated Google SEM and PMAX
+54.2%Best single-test conversion uplift, A/B and multivariate programme across five APAC markets, L'Oréal Luxe

Full career history, 2007 to today

2026 – PresentArocell (FICC) · SeoulSenior Manager, US Marketing & PRLead US marketing and PR: agency management, influencer partnerships, and paid and organic seeding. Super Collagen Mask 2.0 won Reviewed's 2026 Best of Year award (Best Overnight Mask); one influencer video reached 2M+ organic views; product under evaluation for the 2026 ELLE Future of Beauty Awards.
2022 – 2024Charles & Keith · SeoulHead of E-commerceLed Korea e-commerce across D2C, digital performance and online merchandising, including analysis-led seasonal buying.
2021 – 2022Fendi (LVMH) · SeoulE-commerce Manager, OmnichannelLed Fendi.com D2C and online merchandising, including analysis-led seasonal buying; built and managed the Client Advisor Hub team across stores.
2019 – 2021Concentrix · SeoulManaging Consultant, Digital AnalyticsLed digital analytics consulting for major D2C clients, including Samsung and LG.
2016 – 2019L'Oréal Luxe · Hong KongDigital Product / UX Manager, APAC Regional Luxe DigitalLed regional digital product and UX initiatives across China, Japan, Korea, Australia and Taiwan for Lancôme, YSL Beauty, Armani Beauty, Kiehl's and Shu Uemura, and supported Salesforce Commerce Cloud adoption in Korea, Japan, Taiwan and Australia.
2011 – 2015The Estée Lauder Companies · Seoul / Hong KongDigital Analytics Lead, APAC Regional Corporate OnlineLed regional digital analytics across Estée Lauder, Clinique, Jo Malone London, Bobbi Brown, M·A·C, La Mer and Origins. Trained 30+ regional digital teams; promoted from the Korea team to the APAC regional team.
2010 – 2011LG CNS · SeoulAssistant Manager, Digital ContentManaged digital content and smart-app projects for LG Electronics devices.
2007 – 2009Gmarket · SeoulE-commerce Specialist, Service / Platform / StrategyManaged and scaled Gmarket's English-language e-commerce platform, growing revenue 1,000%+ year on year.

Credentials

Higgsfield · The AI Filmmaking Pipeline, certified (2026)
MIT Sloan School of Management · Generative AI Business Sprint (2024)
Harvard Extension School · Computer Science (Java), Multimedia (2008–09)
UNSW Sydney · BA, double major in Economics and Chinese (2004–07)

Languages

English · fluent, working language for US and APAC markets
Korean · native

Toolkit

Generative AI & motion

FlowSeedanceKlingNano Banana ProGPT Image (OpenAI)Astra (3D)

Writing, research & prompt architecture

ClaudeChatGPTGeminiPerplexity

Analytics & performance media

Google AnalyticsAdobe AnalyticsGoogle Ads

Markets

United States · Amazon, PR and creator seeding for a K-beauty brand
Korea and APAC · luxury beauty and fashion D2C across Korea and the wider region: China, Japan, Australia, Taiwan and Thailand

Contact

Share a role, a brief or an idea.

Open to senior in-house roles at the intersection of creative strategy, brand, and AI. Also available for select freelance and retained engagements.

Based in Seoul (KST), working globally in English and Korean. Let's discuss how my commercial background and creative practice can drive impact for your team.

Email siennason@gmail.com

LinkedIn Connect on LinkedIn

Résumé Download the résumé (PDF)

Based in Seoul, KST (UTC+9)