Brand Director
Brand direction for founder-led businesses by Lelliott, a working artist with thirty years of commercial results. Strategy through to delivered work.
Problems solved
Questions answered.
01What is a brand director?
The person accountable for what the brand means — and for making every expression of it pull in the same direction: product, story, identity, campaigns, experience. Think creative director plus commercial strategist, one eye across strategy and execution. Often companies have marketing doing pieces of this. A brand director makes it one job.
02Why could an artist make a great brand director?
Well, the job is seeing. An artist is trained to look at what's actually there — not what the category says should be there — and to make things people feel before they rationalise. With me I add thirty years of commercial experience and results, which gives you a rare mix: an eye that finds what only you can say, and the discipline to turn it into the 'R' word... revenue.
03What does a brand director actually do?
Sets the strategy — who it's for, what you stand for, why you win — then directs everything the customer meets: naming, story, identity, website, campaigns, product presentation. Builds and manages the systems and teams. Strategy through to delivered work. Perfect decks — and commercial outcomes.
04What's wrong with our brand?
Usually nothing a repaint can fix. Nine times out of ten the brand is fine and the business model underneath is fuzzy — pricing, buyer, channel. I look there first. If the model is sound, brand becomes the multiplier. If it isn't, no rebrand will save it.
05Do we need a rebrand or just a refresh?
Rebrand if the business has genuinely changed — new buyer, new offer, new ambition. Refresh if the strategy is right but the other touch points have drifted - culture, technology, generations. Sometimes companies asking this need neither: they need to decide what they stand for, then say it everywhere, well.
06How much does this cost, and how long does it take?
Projects run from $10,000 with a defined deliverable, typically two to four weeks. A season as your fractional Brand Director runs from $8,000 a month, one to three days a week, three months or longer.
07Who else have you done this for?
With 30 years in the bank - many! Some headline numbers include... SAINT — co-founded, nothing to $5M. Knog — as CMO, $200K to $10M in two years. Crumpler — €3M to €19M and 25 stores across Europe. SKINS across five regions, brand foundations at Bellroy, FMCG launches at Lion. Right now: Shizuka Ryokan — 71K visitors a year, up 36%.
08We're a place, not a product — does this work for us?
Yes. A stay, a venue, a destination — place brands are still brands: who it's for, what it stands for, what the experience proves. Shizuka Ryokan is the current case — full brand and digital rebuild, 71K visitors a year, up 36%. And place is where art and brand meet: the same eye that puts a painting on a wall thinks about what a foyer, a garden path, or a room can make you feel.
09How do we stand out when everyone looks the same?
Sameness is a research and a point of view problem — everyone studies the same category, so everyone converges on it. I don't work from the category. I work from inside your business and culture and the founder's conviction. There are things only you can say. Seeing what's actually there is an artist's job.
10Why isn't our marketing working?
Marketing amplifies a decision. If the decision underneath it — who this is for, why it matters, what it costs — is soft, amplification just spends money faster. We work with you on the decisions.
11Will this actually shift sales?
It's the only reason to do it. Brand is the activation layer on a sound commercial structure — the difference between this will do and I must have. I've listed a few revenue numbers below: for me, these matter more than awards.
12Who owns the brand internally once you leave?
You do — that's designed in from day one. I embed with your team, build the system alongside the people who'll run it, the playbook is yours, the files are yours.
13Is our founder story an asset or a liability?
Asset, always — it's the one thing competitors can't copy.
A point of view is everything.
The art practice is a way of seeing: what's actually there, what connects, what people feel. I've spent my life inside the cultures I build for — SAINT was built in a motorcycle workshop by people who rode, and that's why it worked. I bring that eye to every brand I work with, from the inside.
Three things on my mind
Thirty years inside founder-led businesses, through startup and at inflection points — the times when brave thoughts are needed. Three ideas I've been sitting with.
01The lantern and the spotlight.
I've been reading Alison Gopnik, a developmental psychologist at Berkeley, and she describes two modes of consciousness that have reframed how I think about everything I do. She calls them lantern and spotlight. The spotlight is focused, efficient, pointed at the task — it's how most adults operate, how businesses run, how things get done. The lantern is how children see: wide open, taking in everything from every direction. It looks unfocused, but it's actually a more expansive form of awareness. I love her line about what lantern consciousness feels like — "like being in love in Paris for the first time after you've had three double espressos." That I've never seen like this before feeling.
Gopnik calls children "the R&D department of the human species" — because they don't just play randomly. They form theories and test them. Play is experimentation. Adults exploit what we know; children explore what they don't. Play isn't a break from learning. Play is how the learning happens.
The shift from spotlight to lantern is intuitive, simple, and — as adults, in life and business — incredibly challenging. It's the way of seeing that's needed in startup, at inflection points, when things change. The lantern lets us see more, see things anew, then experiment and test new theories in the new context — before doing the work of spotlighting. It's a cycle, and it's how we thrive.
The magic isn't in working harder in spotlight mode. It's in learning how to open the lantern when the spotlight has stopped finding anything new.
02Everything is connected — and it's the changing nature of our connectedness that makes it interesting.
Lantern thinking lets you find something in an entirely different field that, looked at from a different angle, applies to the field you're standing in. And the discovery itself is proof the process works.
Practical examples from my own work. A cycling accessories company was selling to people who ride bikes in suits — lantern perspective said colour is part of the emerging urban cycling culture, and that culture is where the product should live, not in bike shops next to reflective vests. A messenger bag company built by couriers discovered the real proposition wasn't messenger culture at all but movement through cities — and that became the platform for twenty years. A denim company knew single-layer motorcycle jeans needed to perform like armour — lantern thinking meant looking at military applications, different fibres, different constructions, until a solution emerged that nobody in fashion or motorcycle gear had tried.
Same pattern every time. Spotlight says solve the problem in front of you. Lantern says look around first and see what connects.
The nature of our connectedness matters more right now because the connections are shifting faster than most businesses can track. Markets, culture, supply chains, customer expectations — they all move, sometimes by degrees, sometimes overnight. The businesses running spotlight-only will miss the shift until it shows up in the numbers, which is always too late.
This is also where AI genuinely excites me — not as a replacement for thinking, but as a lantern machine. These systems surface connections you didn't know to look for and hold more in view than a single brain can manage. They're not creative on their own — but they're extraordinary at widening the field of vision for someone who already knows how to look.
03Strategy first. Then brand. Not the other way around.
I spoke with an entrepreneur last week who was building the brand first. Logo, palette, photography, website — all considered, all well made, all built before the commercial strategy underneath it. It's a surprisingly common approach, and it comes from spotlight thinking: the brand feels like the task because it's visible and tangible. But a brand without a commercial strategy underneath it has no foundations.
Strategy first means knowing who you're for, what you're actually selling, where the money comes from, and what has to be true for any of it to work. That thinking gives the brand a purpose — and makes every creative decision sharper, because each one serves something specific rather than something general.
The businesses that thrive are the ones whose brand is built on a commercial reality that holds when the world shifts around it — and the world is always shifting. The question isn't whether it will. It's whether you'll notice in time. That takes lantern thinking: deliberately looking sideways when the numbers say look straight ahead.
I've watched businesses transform not because they worked harder but because someone turned the lantern on and saw a possibility that was already there. A business planning a major renovation discovered the real opportunity was a different property entirely. A brand trying to crack a new category realised the answer wasn't in the category at all, but in understanding who their customer had become. The thread is always there. Pay attention. Look up.
The record
Current · Fractional CMO
Shizuka Ryokan
71K/yr · +36%
Full brand and digital rebuild — protecting a decade of search equity while repositioning for growth.
Co-founder
SAINT
$0 → $5M
Single-layer Dyneema® denim, built inside the motorcycle world it spoke to. World-first product.
CMO
Knog
$200K → $10M
Lights that helped define inner-urban cycling as much as they sold into it. Two years, 45 markets.
Creative Director
Crumpler
€3M → €19M
Part of how carrying itself changed. 25 stores across Europe.
Also — SKINS (five regions) · Bellroy (brand foundations) · Lion (FMCG launches)
What people say
Lelliott has always had an artist's eye for brand, but his commercial strategy changes the game. He doesn't just make brands look good — he structures business and activates brand in ways that drive revenue.
A strong entrepreneur and remarkable creative, who has a rare ability to find sparks forging new brands and products that resonate.
A brand person through and through. Design eye, technology, strategic understanding. All of it commercially focused.
Three ways to work with me
Wherever you end up, start with the Hit List.
Do it yourself
The Hit List
Free
Ten things I've learned the hard way about building brands. One page, no fluff.
Get the PDF →Do it with you
By project
From $10,000
A fixed-term project with a defined deliverable — positioning, story, site, launch.
Book a consult →Do it for you
By season
From $8,000 / month
Your fractional Brand Director, embedded one to three days a week — a season or longer. Strategy through to shipped work.
Let's talk →THE HIT LIST - FREE PDF
Building the defining brand of your moment?
10 things I've learned the hard way about building brands.