Inès Kerma is an art director and graphic designer based in Paris, and the founder of Studio Kerma, a creative studio dedicated to branding and art direction. Working across digital and physical mediums, the studio develops visual identities that balance precision and emotion. Its work spans layout, packaging, print, digital interfaces, motion design, and photography, with clients including Louis Vuitton, Renault, Rabanne, and Lancôme. Before founding her studio, Inès worked as a freelance designer with Leslie David Studio.

Kerma’s work feels both refined and instinctive. How do you balance structure and intuition in your design process?

Working with established luxury clients, often with very structured guidelines, naturally brings refinement and precision. But I keep my instinct alive by nurturing personal projects on the side, which help me strengthen my visual voice. That’s one of the reasons I love being freelance: combining client projects with clear constraints, and personal explorations like editorials or motion work, where I can express something more artistic, almost like a painter. Balancing both worlds keeps my vision evolving.

You’ve built a studio that moves fluidly between branding, art direction, and image-making. What connects these disciplines for you?

It’s really about the love of creating images. I often start with an idea or emotion I want to express, and then choose the right medium for it, whether that’s painting, a logo, motion design, or even AI. They’re all tools for the same purpose. When people ask what I do and don’t know what “art director” means, I just say I make images, everything that can be seen, regardless of the medium. That’s what keeps all my projects coherent.

Collaboration seems central to your practice. How do you choose the photographers, stylists, or developers you work with?

Mostly through intuition. I don’t choose people based on status or reputation, it’s more about feeling aligned, creatively and personally. I like working with people I admire, who inspire me and push me higher. This job can be quite solitary, so it’s essential to collaborate with others who have sharp expertise and different perspectives. It keeps the work richer and more human.

The studio’s client list includes major luxury houses like Louis Vuitton and Rabanne. What does creative freedom look like in that context?

It really depends, some projects allow more creative freedom than others. I actually believe freedom can exist within constraints. Sometimes the most complex guidelines lead me to unexpected ideas I wouldn’t have found otherwise. I enjoy adapting, understanding what these heritage brands want to communicate, and finding creative space within their codes.

How do you approach translating a brand’s essence into a visual identity that feels contemporary yet timeless?

The most interesting part is digging into a brand’s history, or finding symbolic connections if it’s a young brand. I like exploring past iconography and reinterpreting it through a contemporary lens to create that sense of timelessness. I’m fascinated by how past creators worked, especially with different tools and philosophies, and how we can honor that legacy while still creating something new.

Your work spans both digital and physical mediums. Do you find one side of that spectrum more creatively fulfilling?

They’re two very different approaches, and I love both equally. That’s why I wanted Kerma to be multidisciplinary, I get bored easily, and I need to explore multiple mediums to stay inspired. I don’t think I could choose between print and digital; each one feeds the other. And for brands, being able to express themselves across both worlds is essential today.

How did your experience at Leslie David Studio shape your approach to directing your own studio?

Working at Leslie David Studio was a key step for me, almost like a continuation of my studies, but in the real world. I learned how to manage clients, but most importantly, how to keep your artistic integrity even in commissioned work. I also loved the mix of small team and big projects, few people, large-scale ideas. That balance really inspired me to start my own studio.

Kerma’s projects often have a strong editorial sensitivity. Are there particular references—in fashion, photography, or publishing—that influence your art direction?

Definitely. I’m very inspired by photographers who treat photography as an art form, both in how they shoot and how they edit. Some references I love are @reihuannn, @juliaetvincent, and @joecruzstudio. I’m also deeply influenced by brands like Loewe and Maison Margiela—their image treatment and artistic sensitivity always feel poetic and deeply human.

Your work carries a strong sense of atmosphere and tone. How do you use color, typography, and composition to shape emotion within a brand identity?

I’ve been painting for years, purely as a personal practice. That artistic process deeply informs my work. When I build a brand identity, I think about it like a painting, composition, light, texture, and emotion as a whole. That’s probably why my projects feel emotive, I want them to make people feel something, not just sell something.

Looking ahead, what kinds of projects or collaborations would you like Kerma to explore next?

I’d love to do more editorial collaborations with photographers, and work on branding or rebranding projects for both established and emerging brands. I really enjoy creating full 360 identities, using all the tools I have to build a universe that feels coherent, emotional, and true to the brand. Editorials and branding, that’s what I want to keep exploring next.