Tasked with interpreting what a “digital sanctuary” and a quiet, minimalist brand could feel like, they were encouraged to explore far beyond traditional brand imagery.
“That freedom allowed us to move into something more poetic and experiential,” says Olly. “As we worked, the Japanese concept of Ma emerged naturally as a framework, helping us understand how silence, emptiness, and the invitation to pause can hold as much meaning as presence.” Julia adds, “It’s rare to be trusted like that. Catherine’s aesthetic is refined, but she consciously stepped back to let us bring our own sensibilities. It shifted the dynamic entirely, letting us explore a mood, a philosophy, an atmosphere.”
For them, Ma became more than an aesthetic—it was a way of seeing. “It taught us to see space as a living element,” says Olly. “Not emptiness, but potential. In the imagery, the pauses between elements are as important as the elements themselves.” Julia agrees, noting that the brand itself reflects this principle: “It allows creative space, values those invisible intervals where ideas breathe, and invites interpretation. The brand becomes something felt and lived, not just seen.”
One outcome of this approach was a black-and-white cinematic sequence conceived as a moment of pause for the digital sanctuary for Noon All Day. This sits within a broader brand philosophy that treats the digital environment not as a place of noise and overload, but as a space for stillness, reflection, and renewal. It is a place to read quietly—a sanctuary that invites unhurried thought, deep attentiveness, and the sensory focus usually reserved for physical spaces. This intentional slowdown acts as a counterpoint to the relentless pace of online culture, offering a rare moment of calm in a world that rarely stops.
“It’s not a moving film,” Olly explains. “It’s a carefully composed series of still frames—each a frozen moment focused entirely on a single surface: polished stainless steel. It’s a minimalist exploration that strips imagery to its essence, inviting viewers to slow down and reflect.” Julia describes the surface as both mirror and canvas: “In black and white, its reflective qualities become heightened. Subtle shifts of light and shadow reveal abstract shapes with quiet intensity. Each frame feels like a breath, a stillness within the digital stream.”
Despite their simplicity, the images carry depth. “The reflections create layers of ambiguity that reward close attention,” says Olly. “There’s a tension between presence and absence, visually capturing Ma through light, shadow, and emptiness.” The pair approached the series with restraint. “We experimented with lighting angles to bring out the material’s nuances without overwhelming the viewer,” she adds. Julia points out that the stillness was key: “Choosing still frames over motion magnifies the pause—there’s no rush, no distraction.”
For both, Catherine’s openness has been integral. “Her generosity creates a brand that grows with every creative input while staying true to its core values,” says Olly. Julia expands: “She values dialogue with creatives, inviting expansion rather than replication. That gave us the confidence to experiment and deepen the brand’s emotional resonance.”
Olly Mason, a London-based creative director and stylist, brings a distinctive perspective shaped by her time as Head of Interiors at Wallpaper and her close relationships with leading designers and brands. Julia Ippolito, a 3D artist and architect in Antwerp, draws on her deep understanding of form and space to create visuals that celebrate the interplay of light, material, and composition. Together, they merge these perspectives into a unified visual language—thoughtful, refined, and quietly powerful.
masonippolito.com
