Beauty with Bite: Loïc Maes on Mixing the Surreal with Emotion and Humour
Loïc Maes is a Belgian-born film director, producer, and post-production savant who is known for blending bold fashion aesthetics, rich design flair, and storytelling, delivering visuals that are sensual, edgy, and unforgettable.
He collaborates regularly with the iconic artists like Nick Knight and Steven Meisel, crafts visuals for Beyoncé, Bjork, Lady Gaga and helms ads for the likes of Chanel, Gucci, Tom Ford, Estée Lauder, and many more.
He sat down with LBB to chat about exploring more genres in his work, his upcoming docu-series ‘House of Fire’ and reclaiming authenticity through craft…
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them.
Loïc> I’m stretching my comedy chops. I’ve got a fun spot with Sofia Vergara and Chris Appleton currently airing for Schwarzkopf, and a retro-feeling funny spot with Nicole Richie coming up soon. I’ve always loved working in the beauty and music space, but now I’m hungry to explore more genres – especially comedy.
In addition to that, I have a docu-series that I created and produced currently airing on BET+ called ‘House on Fire’ – that dives into the underground world of queer Ballroom in NYC. It’s sweet, moving, and unapologetically bold.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Loïc> I’m excited by the tech – robot arms, motion control, AI, all of it. You can create these hyper-precise, surreal visuals. At the same time, I think there’s a craving for something more honest and heartfelt. We’re bombarded by low-quality social content that feels less and less genuine. I’m interested in reclaiming that idea of authenticity – but doing it with actual craft.
LBB> What elements of a script set one apart from the other, and what sort of scripts get you excited to shoot them?
Loïc> I love a bold opening line – something that gives the talent a moment to shine right off the bat. Something surreal, funny, silly, or dramatic… iconic. I’ve had the privilege of working with copywriters I really admire. A good script has rhythm, surprise, and space for visual invention.
LBB> How do you approach creating a treatment for a spot?
Loïc> It starts with understanding the creative team’s vision, where I see the brand going, and where I can add my sauce. I want my treatment to make you salivate – to show you visually and emotionally where I want to go. I put a lot of care into them, and I don’t mind going back and forth with the creative team to get it just right. I’m here to make something great while serving the brand and making the agency proud. And I believe you should have fun doing it.
LBB> If the script is for a brand you’re not familiar with or a market you’re new to, how important is research? How do you do it?
Loïc> It’s very rare that I don’t connect with the brand, but when that happens, research is crucial. I need to understand the audience, the context, the tone. I’ll dive into past campaigns, product reviews, and competitive work. The goal is to find what’s emotionally sticky about the brand – what people actually care about – and build from there.
LBB> For you, what is the most important working relationship for a director to have in making an ad? Why?
Loïc> Your DP, without question. That’s your ride-or-die on set, and a great understanding of each other is how things flow. The visuals are how we tell the story, and that collaboration is sacred. But beyond that, having a strong producer and editor relationship is key too – but since I handle most of my post, I’ve got that covered!
LBB> What type of work are you most passionate about – genre, subject, or style?
Loïc> I’m drawn to work that mixes beauty with a bit of bite – something stylised, a little surreal, but grounded in emotion or humour. I love when fantasy collides with real human moments. That could be in fashion, music, comedy – it doesn’t matter as long as it has feeling and flair.
LBB> What misconception about you or your work do you most often encounter – and why is it wrong?
Loïc> People think the director makes all the decisions. In reality, advertising is one of the most collaborative mediums there is. I have a clear vision, but it’s not about ego. My job is to guide the ship and deliver – while letting the magic happen around me, from crew to talent.
LBB> What’s the craziest problem you’ve come across in production – and how did you solve it?
Loïc> One time, a difficult celebrity walked in on set in a bad mood and said she would give us “one take” instead of the three hours scheduled and multiple setups. I got the camera off the crane and on the shoulder, and captured all angles – wides, mids, closeups – all in one VERY long take. The film came out beautiful, and I’m very proud of it.
LBB> How do you strike the balance between collaboration with an agency/brand and protecting the idea?
Loïc> It’s all about communication. If I believe strongly in something, I’ll fight for it – but respectfully, and with a clear picture of why it serves the idea. If I can’t sell it to the agency, then it’s not the right idea for this job and I need to pivot. I always try to resolve these questions in prep, but on set, if doubts come up, it’s my job to reassure and paint the picture of how it’ll come together in the edit.
LBB> What are your thoughts on opening up production to a more diverse talent pool? Are you open to mentoring?
Loïc> Absolutely, it’s important to make the fabulous world of film accessible to a more diverse group of people. I didn’t go to film school – it wasn’t accessible to me. So I really believe in finding talent through unconventional paths. I’ve mentored several young creatives over the years, and seeing them thrive is honestly one of the most rewarding parts of this job. We need more voices, different stories – and that starts by opening doors.
LBB> Your work is shown in so many formats now. How much do you keep that in mind while shooting?
Loïc> You can’t not think about it. I’m always asking: does this work vertically? Can we crop it square? Do we need an alt version for extreme closeups? As someone who also edits, I can anticipate what will work in post – but sometimes you still need to shoot two setups for one moment to make sure it lands across platforms.
LBB> What’s your relationship with new technology and future-facing tools like virtual production, AI, interactive storytelling?
Loïc> I’m very into it. I’m a post nerd. AI is moving fast, and while it’s not perfect yet, it’s already transforming how we brainstorm, pitch, design, and edit. I think the key is to use it where it shines and stay ahead of the curve – because it will completely change the way we work.
LBB> Which pieces of your work show what you do best – and why?
Loïc> Schwarzkopf – Sofia Vergara and Chris Appleton: I loved the challenge of making something funny and relatable to drive brand recognition – while still expressing the precision and tech-forward feel that defines Schwarzkopf. We used motion control to great effect. I’ve built a strong relationship with TBWA and Schwarzkopf, and their trust gave us the freedom to deliver something really sharp and effective.
Maybelline Fashionista ft. Gigi Hadid: I’m a sucker for a high-glam moment. A fantasy world with a touch of camp is my happy place – and Gigi is a dream to shoot. She lights up the camera and makes everything feel effortless.
L’Oréal True Match: I love showcasing real, diverse beauty. With this campaign, we were early in the “no retouching” movement. The film looks super simple – just a white background and great skin – but I wove in clever, seamless transitions to give it a smooth, elevated flow.
Vidal Sassoon – ‘The Unfollower’: This one’s pure energy. It’s tightly choreographed, with heavy green screen and collage work – basically a love letter to my post-production background.
‘House on Fire’ – BET+= My first TV series. It’s a docuseries that highlights an underrepresented community with humour, dance, glamour, and plenty of camp. It’s raw, joyful, and very close to my heart.
