Bruno
Lanfranchi

Palpitaria was founded in 2021, shaped by a conviction that developed throughout my career: every business deserves well-grounded marketing decisions, whatever its size or structure. My experience with major brands taught me to work with strategy, budgets, processes, and accountability for results. Through the consultancy, I began applying that experience directly to the context and ambitions of business owners and leaders, developing solutions with the same rigour and care that have always defined my work.

At Palpitaria, I bring together experience in branding, campaigns, communications, CRM, and operations to develop diagnoses, positioning, and action plans. The work starts by understanding the business context and the goals of the people leading it, then moves through priority-setting and the organisation of processes and responsibilities that help decisions become action.

What interests me most about Palpitaria is building this way of thinking together with people who know the business from the inside. Open dialogue lets us test assumptions, consider the context behind each decision, and bring strategy, brand, processes, and customer experience together coherently. That exchange leads to clear direction, achievable priorities, and marketing that people across the business can understand and put into practice.

Estúdio ALA grew out of street Carnival and my desire to make art by hand—two things that have always been part of my life. The brand took shape through headpieces, bands, turbans, and other handcrafted pieces, but its central idea goes beyond accessories: dressing up can reveal more of who we already are, making room for freedom, self-expression, and each person’s own shine.

From the beginning, I built ALA end to end—from the first idea to the finished piece, and from photography to the parcel sent to someone’s home. I researched references and materials, tested techniques, made and photographed the pieces, organised collections, built the website, and handled sales, customer service, and shipping. The experience brought together the craft of making with the work of developing a brand, a product, and a direct relationship with its audience.

After two Carnivals on the streets, relocating abroad made it impractical to continue producing pieces for Brazilian Carnival, an essential part of the brand’s identity. ALA is now on a creative pause, with no set return date, while the website remains an archive of the work and stories already created. The project remains part of my experience and the ideas that continue to emerge, even far from the parade.

At Arizona, I led Communications and Client Services for a large-scale creative operation supporting Natura &Co and brands including Natura and Avon. Campaigns, CRM, digital content, print materials, photography, and video had to maintain brand consistency and quality while serving different markets, channels, teams, and approval workflows.

I led client services and communications, coordinating priorities, processes, and relationships among specialists, multidisciplinary teams, and client stakeholders. The operation brought together more than 150 professionals, including 18 direct reports, and produced over 20,000 assets each month for work across multiple countries.

This experience deepened my understanding of creative governance: bringing together clear briefs, review workflows, production capacity, and team decisions so quality does not depend on individual effort alone. I also helped incorporate AI tools into the process, using technology to support efficiency and brand control.

At Tutora Pet Holding, I helped build the marketing function for a nationwide Brazilian pet-industry group that included Pet 2 Pet, Tudo de Bicho, and Bem-me-Pet. Its mix of business distribution (B2B), consumer relationships (B2C), e-commerce, and private-label brands called for a strategy that connected distinct businesses and audiences while respecting the commercial realities of each.

I built and structured the group’s marketing department, connecting branding, performance, CRM, SEO, and communications with commercial operations and sales teams. This involved designing processes, managing partners, integrating information, and setting priorities to serve both professional channels and retail and e-commerce.

Alongside building the marketing function, I worked on corporate communications, business integration, and diversity initiatives, including the creation of Tutora Plural. The experience broadened my perspective on building a marketing team that connects brands, people, sales channels, and organisational culture during a period of expansion.

Natura was one of the broadest experiences of my career. I saw marketing from different perspectives within the same ecosystem: relationships with Beauty Consultants, product campaigns, corporate communications, brand strategy, and channel governance. Working at that scale means understanding very different audiences and how each message reaches people in their everyday lives.

I contributed to the digitalisation and development of CRM journeys for a network of more than one million consultants, as well as campaigns and content for brands such as Natura Lumina, Una, Faces, and Chronos. I also worked on communications during the pandemic, digital-channel initiatives, and processes connecting marketing, agencies, media, and other internal teams.

I also worked on planning and governance for a portfolio spanning dozens of brands and channels, balancing commercial priorities, narrative, segmentation, and resources. Natura strengthened my experience in integrated communications and reinforced a principle I take into other contexts: a brand becomes consistent when its strategy is supported by the processes and decisions that sustain it every day.

At Calvin Klein, I helped adapt a global brand to the day-to-day realities of a Brazilian retail and franchise operation. International collection and campaign calendars had to work for local markets, stores, customers, franchisees, and commercial goals while keeping the brand recognisable across touchpoints.

My work began with marketing planning for a network of approximately 70 franchised stores and grew to include omnichannel CRM and customer relationships. I worked on campaigns, store openings, commercial initiatives, and cultural experiences through CK Experience, including festivals and exhibitions.

One project I conceived during this period was a travelling Calvin Klein Underwear vending machine, bringing together physical brand experience, product, partners, logistics, and CRM. The combination of fashion, retail, culture, and technology broadened my understanding of how a brand can take part in people’s lives while staying grounded in operations and results.

Sephora was a practical education in retail brand experience. During the expansion of its Brazilian operation, I worked across visual merchandising, marketing, and communications in stores that had to express an international brand identity and the breadth of products and partners at each location.

I contributed to window displays, campaign materials, launches, events, store openings, and in-store presentation projects, working with operations teams, suppliers, shopping centres, and beauty brands. I also took part in pop-up store projects and brought Sephora Beauty Club into the in-store experience.

This experience changed how I think about the relationship between communications and physical space. Lighting, product placement, flow, service, and information can matter as much as a campaign. At Sephora, I learned to see in-store execution as an essential part of the promise a brand makes to its customers.

At The Walt Disney Company Brasil, I joined the launch and development of Radio Disney in the country. The work brought together different forms of entertainment, audiences, and partners while maintaining a recognisable brand voice—an aspect that interested me from the start.

I worked on promotions, digital content, events, festivals, artist relationships, and campaigns linked to film releases, in collaboration with other teams and external partners. Projects such as The Avengers, Pirates of the Caribbean, Cars 2, Brave, and The Muppets brought entertainment, communications, and marketing operations together on the same calendar.

The experience broadened my understanding of channel integration and the coordination needed to make a campaign or event happen. It also showed me how a global brand comes to life through local initiatives, with creativity, planning, partners, and attention to every audience touchpoint.

My experience at Walt Disney World in Orlando began in guest service and retail operations. As a Merchandise Cast Member, I worked in high-traffic settings, especially at Magic Kingdom, welcoming visitors from around the world and following routines that called for attentiveness, agility, and consistency.

The brand experience was built through everyday decisions: store organisation, replenishment, guest service, cash handling, visitor guidance, safety standards, and teamwork. Training and operational discipline helped each step feel natural to someone experiencing it for the first time.

It was my first professional encounter with the complexity behind an experience that can seem simple to a customer. That direct contact with operations gave me an important foundation for how I later came to think about retail, service, communications, and the relationship between what a brand promises and what it delivers.