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Theo von Aspern, Global Creative Director at adidas at TBWA/Neboko, is a driving force behind some of the most exciting campaigns for the global brand. In this exclusive interview with GoSee, he gives us an insight into his role, the challenges of his work, and the creative vision behind recent projects like the "City Escape" campaign. He discusses the importance of authenticity in advertising, how he builds his team, and how trends and new technologies influence his creative process. We are also excited to welcome Theo in person at UPDATE Berlin.
What does your role as Global Creative Director at TBWA/NEBOKO entail? Theo: If you want to go fast, go alone. But if you want to go far, go together. I truly believe that. So, much like a football manager, my job is to pick the best team, get them aligned, and make sure every campaign we roll out is fresh, relevant, and impactful. We’re always looking for creative ways to tell stories that connect with people, feel authentic, and help drive brand recognition or increase sales. In doing so, we hope to play a role in shaping both sport and culture for adidas.
With the global adidas 'City Escape'-campaign, you brought the spirit of sport to the streets. This wasn’t just a shoot, but as you say: "This was an invitation to carry the energy, culture, and playfulness of sport into the everyday." Could you briefly explain the concept behind this campaign? Theo: City Escape was about bringing sport to the streets—no fancy stadiums, no elite athletes. Just real people tapping into the energy of sport in their everyday lives. We wanted to show that sport isn’t some destination—it’s a feeling that can happen anywhere, anytime. It’s about the freedom and energy that comes with being active, and we used authentic interactions to showcase that. What really set the campaign apart were the locations, colours, and textures that brought the whole idea to life.
In recent months, you’ve produced campaigns in Mexico, Cape Town, and Berlin. How do you select your locations, and how do you find the right production partners, photographers, and directors? Can external production companies apply to work with you, and what do you particularly value in your collaborators? Theo: This is a great question. There’s no one-size-fits-all answer here. When selecting locations, it’s all about authenticity and variety. For adidas, we don’t fake the setup. For example, not every city can handle performance cycling or swimming, and not every place is right for bustling cityscapes or lifestyle beach concepts. When it comes to production partners, photographers, or directors, I stick to my principles: no egos. There’s nothing worse than one bad egg ruining the bunch. Other than that, experience is key. Producing an adidas shoot is more demanding (for various reasons) than a lot of other brands, so you need a team that’s ready to plan, adapt and execute at the highest level. If you can get it done and bring a fresh perspective, I’m all in.
How many projects and campaigns do you manage with your team for adidas? Theo: Multiple. We’ve got a strong team at TBWANEBOKO, so each project gets the focus it needs. It’s not about quantity; it’s about making sure each campaign hits the mark. We’re constantly evolving the brand and looking for new, interesting ways to bring adidas’ products to life, while staying true to the brand’s essence.
What does the collaboration between your creative agency and the adidas brand look like? Do you have complete creative freedom in your work? Theo: I believe that to love your work, you need to live the brand. And working with a powerhouse like adidas, there’s always going to be a balance. There’s creative freedom, but within a rock-solid framework. Recently at TBWANEBOKO, we’ve been responsible for reinventing the adidas brand creative and strategy. That kind of work can’t happen without trust, compromise, and a lot of teamwork. At the end of the day, it’s about finding the sweet spot between disrupting the market and staying true to the brand’s identity.
How do you approach current trends, and what role does Artificial Intelligence (AI) play in your work? Theo: Trends are great, but they come and go. I believe in principles. Impact, communication, and persuasion. If you can master those, whether you’re telling a story through cave paintings or AI, you’ll find a way to reach your audience. Don’t get me wrong, I believe AI is an amazing tool—but it’s just that, a tool. The best ideas still come from humans—people who get the culture, the vibe, and the vision. AI can amplify creativity, but it can never replace the heart of what we do.
Successful work comes from the collaboration of a dedicated team. How do you build your team to ensure creative success? Theo: Finding the right balance between skillsets and personalities is very important. But it all starts with trust and passion. Especially on a brand like adidas—you’ve got to be all in. You need to live and breathe the world of sport and culture. If you're not aligned on the goal and working towards it every day, we’re probably not a good fit. Great work only happens when everyone’s willing to give their best, no matter how hard it gets. Simple as that.
A day in the life of a Creative Director at TBWANEBOKO working on adidas – what would you say is the most exciting, yet craziest part of your daily work? Theo: The most exciting part? Seeing ideas come to life—watching something you’ve been thinking about for months finally click into place. The craziest? The pace. It’s a constant whirlwind—emails, shoots, creative meetings. But that’s the thrill, right? When you're in it, that’s where the energy is. The excitement is in the constant progress, moving toward the goal and making things happen.
If you had to wear a superhero costume for the next adidas campaign, which one would you choose? And why does it fit perfectly with your creative vision? Theo: I’d go with John Hancock from Hancock. I’m a bit of a late bloomer. Early in my career, I wasted a lot of time thinking I was meant to do something else—like pursue a pro sport career. I’ve always been passionate about sport, from playing the game to understanding the mindset of elite athletes. But it wasn’t until later that I discovered my true passion for storytelling. Once I realized that, I doubled down on it. Now, I feel like I’m in the sweet spot where work feels like play. Every day, I get to refine and develop my passion for storytelling in the world of sport. Like Hancock, I’m all about reinvention, self-discovery, and making things happen. You’re never truly done evolving.
We’re excited to welcome you to the UPDATE in Berlin. You also worked on a project in Berlin last year. What is your relationship with the city, and what do you enjoy most about it? Theo: Although I was born in Cape Town, South Africa, my family comes from Germany, a country that is very dear to my heart. Berlin also holds a special place for me. I’ve worked here before, and every time I do, I find myself inspired by its art scene, buzzing nightlife, and diverse music culture. It’s vibrant, creative, and full of life. But what really stands out is its people—it’s not just about the work; it’s about how the people of Berlin make you feel alive.
16.05.2025
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Jan Hippchen is the creative mind behind many iconic design innovations at PUMA. As Global Creative Director of Brand Design, he leads the team responsible for iconic projects such as packaging designs, logos, and collaborations. In our interview, Jan provides a deep insight into his versatile role at PUMA and how he combines creativity with functionality. He talks about his passion for exceptional design projects, such as reviving the Super Puma character, collaborating with major athletes like Neymar Jr., and the challenge of integrating local culture into global design strategies. We also learn how his passion for photography has found not only a private but also a professional place in his work. If you want to learn more about the Dua Lipa collaboration and SUPER PUMA, you can meet Jan in person at UPDATE BERLIN.
As a Creative Director at PUMA, what’s a normal day like? Jan: Actually that’s not so easy to say. Of course, there are meetings in my calendar and there are ongoing projects to work on – but there’s always a little room for spontaneous, instant, surprising requests on which I may need to react. Sometimes I’m coming to the office and I still have no real plan of what’s going to happen. That shouldn’t sound chaotic, it’s actually something that I enjoy as it keeps things exciting — and me excited. As a creative, too much routine is not what you want, right?
So can you tell us a bit more about your role? Jan: You get a similar answer. On paper, my role seems to be clearly defined. In reality though, I sometimes struggle to explain in one or two sentences what exactly I’m doing. There are clear responsibilities though. For example, me and my team take care of all PUMA’s packaging. We create hundreds of artworks for special shoeboxes, all the hang tags, labels etc. We are the go-to-guys when it comes to brandings and guidelines or the creation of new logos, if for a new technology, a new franchise or a sign-off for a new partnership.
Would you have some examples of logos you have designed? Jan: Sure. The ones with the most longevity are probably our two main football silos – FUTURE and ULTRA. Both are carrying »my« logos since 6,7 or 8 years and have been sold millions of times. And I think it’s a big, big compliment that so far no one really saw the need to change or update them. When it comes to partnership logos, maybe two that stand out were the ones for Neymar Jr. and for Dua Lipa – for different reasons. I designed the NJR-logo basically overnight. It was the first quick round of ideas, and surprisingly got instant love. That was it. Which I think has never happened before in this industry. At least that’s what our back-then-CEO said. For Dua Lipa, I had created something completely different where I had broken all the rules I’ve set myself before. Everyone was on board with it and we were ready to go – until I suddenly heard that »Now Dua wants a butterfly«. Well, sometimes that happens and you just need to react. And in the end, it turned out pretty nice.
Let’s go back to your role and what you do. What’s the project you enjoy the most? Jan: Sometimes, within PUMA’s Creative Direction team, we kick off our own, special projects. Ideas we strongly believe in, which maybe don’t get instant love from the business side though. Then we, well, just do it. (Sorry) Let me give you two examples. Two years ago we got the chance to work with Otl Aicher’s famous pictograms he had designed for the Munich Olympics back in 1972. It was a once-in-a-lifetime opportunity from both a sport / performance perspective as well as from a graphic design point of view. Aicher’s 100th birthday was about to come and we could be part of it. This project was a love affair from day one, as I had admired Aicher and his work since I learned about it at university. In the end, it was just two hoodies, a short and some t-shirts, but for me (and us) it was so much more! Without any big budget, we managed to get top athletes wearing these products. From Neymar Jr. to Karsten Warholm to Yaroslava Mahuchikh. I even shot some of these portraits myself and I’m still super proud of what we have achieved. So proud that in the end, I made a coffee table book to document everything.
That sounds great – what’s the other example? Jan: The second CD-initiated project is just another love affair: SUPER PUMA. I don’t know who might be familiar with our brand’s mascot from the 1970s/80s? Back then, SUPER PUMA was a cartoon character that targeted kids to get them into sport – and of course to tie them to PUMA. There was a Junior Club, there were comic books, there was some merch… And it basically looked like the green version of the Pink Panther. But over decades, it had gotten very quiet about this guy. Every now and then, we did a tee with one of the old graphics but I always wondered if we should bring SUPER PUMA back?
So one day I asked myself, »what would PIXAR do if we’d ask them to reimagine SUPER PUMA?« Well, I didn’t ask them, but myself, so I started to build my own PIXAR-version of SUPER PUMA in Photoshop. A green fake fur jacket felt like having the right fluffiness, a high-res nose of a Labrador added the right level of cuteness, two glossy yellow pool billiard balls had to act as the eyes. And then everyone who saw this new SUPER PUMA, just fell in love. Which resulted in a small capsule collection and a collab with STEIFF – yes, in the end, we had our small SUPER PUMA plush toys in our hands!
PUMA is not only one of the biggest sports brands, but obviously a player in the fashion world as well. How do you make sure to combine design and functionality while staying relevant in both worlds? Jan: In our performance categories, it’s easy. We put the athlete first and do everything to make them feel better, play better, train better – and look better. By now, PUMA has got 77 years of history in sports, so everything we do in our sports categories automatically feels authentic and proven by our past. On the Sportsyle side though, it’s not such a big difference. Everything we do here has its origins in sport. The classic sneakers of today used to be sports performance shoes in the 60s or 70s. The tracksuits people are wearing for comfort or style, used to be training outfits. It even goes down to graphics. Whatever the idea for a graphic is, we just need to make sure to keep sport in mind. Then it’s something we and a handful of other players can do – but no other brand could do in a credible and authentic way.
You joined PUMA back in 2008. Did you work in other areas before and is there anything you still benefit from? Jan: Yes. Before I started at PUMA, I worked in an agency based in Hamburg for some years. Initially trained as an Industrial Designer, I designed fragrance bottles for various well-known brands. Over time, I got more and more interested in not only looking at the bottles but to work on the outer packaging as well. The boxes you would see on the shelf. Having worked for brands like Gucci or D&G was a big, big learning as these people paid so much attention to every single detail. Sometimes this was painful, to look at the 46th sample of a rose gold metal cap. To come up with the 75th version of just the letter »2« which would be added to a product logo. It felt like Apple’s design ethos back then – a thousand no’s for one yes. And today, 17 years later, I feel that putting this extra attention to things still pays off. Not always, but often.
Working for a global brand in a global role, how do you deal with cultural differences and more regional needs or requests? Jan: Ideally by just going there and trying to better understand. And not just to look at what’s happening in certain markets but to have conversations with locals to figure out what’s relevant and what’s not. It’s surprising how much you can learn about a different place and its people in just a couple of days.
Let me give you one example. Since a couple of years, there is a side project which I called »PCT« – PUMA City Tees. I think it started with a trip to Istanbul back in 2018 where we spent three days with local colleagues, did quite an intense tourist program and had lots of conversations about what could be relevant for tourists – and what could be relevant for locals. The t-shirts we did sold pretty well and since then, I had the chance to travel half of the world to basically design some graphics afterward. Dubai, Shanghai, Seoul, Singapore, Mexico City, and just some weeks ago: India. And I am very, very grateful for that.
We heard that you are a passionate photographer. Is that purely private or part of your job as well? Jan: Sometimes it is. I don’t really call myself a photographer but »a designer with a camera«. Maybe out of respect towards real photographers? Towards people who actually know what they are doing? Some may say I got some talent and that I’ve got a good eye. Maybe that’s based on my graphic skills? Anyway, photography mainly remains my private pleasure. When I’m traveling, or just during a walk in the woods. But as said earlier, there have been occasions where I suddenly had to take portraits of some athletes. Or during the early Covid days, when from one day to the next we completely had stopped working with external resources but still had to take product shots of a few hundred shoes. Photography also plays a role in the City-Tee project I just mentioned. On these trips, I usually take hundreds of photos to have enough material to play with or use as thought starters afterward. And as a final comment on this topic: my absolute highlight was a (business) trip to Jamaica at the end of 2023 where actually one of my tasks was to document what I would see. I came back with some photos of training sessions at a PUMA-sponsored high school and I still think there is something magical about these pics.
Last question: You mentioned books earlier and we talked about photography. You have recently published a book, right? Jan: Not really. I mean, over the years I have done quite a few books and magazines. First and foremost for myself as I strongly believe in documenting and archiving things in an analogue way instead of just storing things on hard drives. The only book I made which has been officially published is a book called *I Like Birds*. This was me during the two Covid years, rediscovering my love for birds, getting back into birdwatching and finally photographing them. All the other books I’ve made are private travel books or small annual reports with all the things I’ve been working on over the years. They aren’t public though – as they contain a lot of confidential things as well as ideas and experiments that just never made it anywhere. Well, that’s just part of the job…
16.05.2025
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Luke Li is a creative force with over 15 years of experience in the creative industry. He has made a name for himself as a dynamic Creative Director and visionary leader. Throughout his career, he has collaborated with global icons like PUMA, IKEA, and LEGO, as well as top creative agencies in the USA. His expertise spans digital innovation, brand building, product launches, and integrated marketing on a global scale.
After relocating from New York to Europe in 2015, he worked as an Art Director at Philipp und Keuntje, then moved to Denmark, where he spent two years executing LEGO campaigns. His journey took him further north to Malmö, Sweden, where he worked as Creative Lead / Art Director at IKEA Creative Hub, implementing creative campaigns. Eventually, he joined PUMA as Associate Creative Director, where he spearheaded global creative strategies for the Sportsstyle and Motorsport divisions. He led teams of global Art Directors, Copywriters, and external agencies to execute innovative campaigns. His work elevated the brand identity of PUMA and Formula 1, including collaborations with Aston Martin and the introduction of Ferrari’s Charles Leclerc as a new ambassador.
In the interview, he provides fascinating insights into his work, explaining how he develops creative visions for global campaigns that emphasize the female gaze and the diversity of the brand. He worked with Dua Lipa and K-pop sensation Rosé from BLACKPINK. "I never get enough of Speedcat campaigns! If Dua’s was a wild ride, Rosé’s is the epitome of an iconic road trip vibe."
GoSee : We’ve just seen the amazing PUMA x Juun.J Speedcat campaign. Can you share more details about this project and your role in it?
Luke: My role in this collaboration was to set the vision for a small, straightforward project centered on two leather SPEEDCAT shoes. Keith provided a clear, experimental brief for the agency Sofmedia, and my input focused on establishing a playful tone with black to complement the shoes’ silhouette. I emphasized incorporating JUUN J’s design style, motorsport elements, and black motorcycles for a cohesive look. We collaborated with SofMedia, a trusted agency we’ve worked with before, relying on their strong creative capabilities. It was a rewarding partnership, and we’re proud of the final outcome.
Can you walk us through a typical day in your role as Creative Director at PUMA? What are some of your key responsibilities?
My typical day at PUMA involves ensuring smooth creative processes, aligning with the team through internal meetings, and checking in with project managers to track progress and address any needs. I spend significant time collaborating with stakeholders, sharing updates, and gathering information to keep projects on track. Given the global nature of our work, my afternoons are often busier as other regions come online. Ultimately, my focus is on supporting the team, fostering creativity, and building strong relationships across teams and with designers, driven by my curiosity and passion for collaboration.
What’s the most exciting part of working with a global brand like PUMA, and how do you stay motivated in such a fast-paced environment?
Staying motivated for me starts with staying curious—exploring what competitors, other brands, and the creative world are doing, especially in the racing category and beyond. Working at PUMA, a large company with diverse areas like shoe and apparel design, offers endless opportunities to learn and collaborate with different teams. I feel fortunate to work across sports style and motorsports categories, which keep me engaged, inspired, and constantly challenged. This variety is what makes the job exciting and fulfilling every day.
Could you tell us more about your approach to developing global creative strategies for the Sportstyle and Motorsports divisions at PUMA?
Sportswear and motorsport cater to very different audiences, so understanding the target audience is key. I spend time researching—scrolling through Instagram, social media, and news—to align with their mindset and the product’s original design inspiration. My role is to bridge the gap between strong product foundations and aspirational visuals. Once the vision is set, we find the best talent to bring it to life, ensuring an efficient and impactful way to tell the story through thoughtful design and visuals.
You’ve been heavily involved in the Speedcat campaign with Dua Lipa and the incredible Rosé. What was the creative process behind these collaborations, and how did you bring these concepts to life?
The Speedcat shoe is one of PUMA's key products for 2024, and creating a strong impact requires close collaboration between our sportstyle marketing teams. To set the tone for this iconic shoe, we chose Dua Lipa and Rosé from BLACKPINK as ambassadors. Their global influence and distinct personalities make them perfect for reaching diverse audiences.
Given the shoe’s motorsport-inspired background, we decided on a road trip theme to tie the campaign together, incorporating elements like cars and wild environments. This narrative will be supported by activations in Las Vegas and other key locations. The contrasting styles of the ambassadors—one more wild, the other more classic—help represent the versatility of the Speedcat. I’m proud to be part of this impactful project, collaborating with an incredible team to bring this campaign to life.
What role do you play in mentoring and leading teams of art directors, copywriters, and external agencies? Could you share any challenges or success stories from your experience?
A fun part of my job is collaborating with amazing talents, both internally and externally. My key leadership principle is to set the vision while giving creatives the space to explore and play. This approach helps uncover strengths, build relationships, and foster growth. I see myself as an aspirational leader rather than a directive one, though a challenge arises when working with people who need clear instructions. I’ve learned the importance of understanding individual styles and adapting to them. Ultimately, talent has the power to elevate a vision beyond expectations, and that’s where the magic happens.
With your extensive background in digital strategy and brand awareness, how do you integrate these elements to create campaigns that resonate with today’s audience?
My diverse background has helped me become a better marketing creative. I’ve worked across various areas, from traditional 360 agencies to digital design, social media, retail, and global marketing, including creating brand identities and design systems. This experience allows me to understand the needs of different stakeholders, adapt to new technologies, and connect with audiences in unique ways. It’s this versatility that helps me craft tailored solutions for today’s ever-evolving audience.
How did your previous roles at IKEA and LEGO prepare you for the challenges you face at PUMA? What key insights have you brought with you from those experiences?
Working at LEGO was my first experience on the client side, where I gained valuable insights into how global organizations operate and collaborate across markets and teams. This global perspective helped me later in my career, especially in connecting products with impactful stories. At IKEA, I further honed my skills through collaborations with Virgil Abloh and pop culture designers, gaining a deeper understanding of youth culture and its influence. Working closely with PR teams, launch events, and design collections taught me how to create impactful campaigns. These experiences have shaped my ability to see the bigger picture and apply effective principles across different brands.
PUMA has a strong connection to the motorsport world. How do you approach creative direction in this space, and how do you balance the high-performance aspect of the brand with its fashion-forward identity?
This project was particularly amusing since I don’t even have a driver’s license, but I immersed myself in the motorsport world to understand the culture, collaborations, and what resonates with younger audiences. I focused on grasping the design philosophy and product insights, which were backed by thorough research and a well-defined audience. My role was to translate this vision into marketing, showcasing the product’s speed, forward-thinking style, and unique identity for each partner. Exploring creative possibilities and representing motorsport teams effectively made the process both challenging and enjoyable.
Looking ahead, what future trends do you see influencing the world of brand marketing and creative direction? How is PUMA positioning itself to stay ahead of the curve?
The world is constantly evolving with new technologies, media, and storytelling methods, but the key is for brands to truly understand their audience—what they value, feel, and find relevant. It’s not just about pushing stories but creating meaningful connections. Staying ahead requires leveraging the power of influence through collaborations with ambassadors and designers, ensuring we remain at the forefront of trends. This approach is one of our simple formulas for success.
Some of his works are featured here on GoSee, and you can find more on lukeiscrazyman. You can meet Luke Li in person at UPDATE 25 in Berlin.
16.05.2025
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