About Diana

I came up through engineering, not a creative programme. That mattered. It meant that when I eventually moved into agency work — running programmes worth millions, managing teams across time zones, delivering experiences that live in the real world — I never lost the habit of reading the actual spec. Not a summary of the spec. The spec.

That’s the thing people usually miss. They see a project director and assume the job is calendar and status updates. What they don’t expect is that I read the technical architecture and the brand requirements with the same fluency — so when I walk into either room, I’m not translating between two worlds. I’m holding the same system from two vantage points. I’ve led a $15M HoloLens mixed-reality build for P&G’s Tokyo Olympics pavilion. I’ve delivered a 40-screen Times Square campaign in the time most teams spend in kickoff. The range isn’t incidental. It’s what makes the whole system hold.

The path that got me here was not the obvious one. I served as an Army Master Sergeant. I competed in Strongman. I ran a gym, worked the door, co-founded a youth nonprofit. I’ve been in rooms where the energy could turn, and rooms where the stakes were genuinely high, and I’ve learned to tell the difference between a problem that needs to be managed and a problem that needs to be solved. That range of experience is not decoration on the résumé — it’s why I can read a room before I read the brief. It’s why I do my best work alongside people who don’t think the way I do — engineers, creatives, strategists, people from corners of the world I’ve never been to. Different vantage points find things one perspective misses.

What I’m interested in now is the frontier edge of this work — agentic AI, interactive retail, experiences that respond to the people inside them. The technology is moving fast. I like fast. Fast, messy, and satisfying is exactly the kind of project I want to be on.