Jon Sorrentino: [00:00:00] My guests on this episode are the Brooklyn based designed duo and founders of the creative studio Little Troop they've worked on and helped launch brands such as Billie, Girlgaze and Hilma. Noemie Le Coz and Jeremy Elliott, thank you for joining me for this second time now on the podcast for season two. Um,

Noemie Le Coz: [00:00:17] Thank you for having us

Jon Sorrentino: [00:00:20] uh, we just spoke for five minutes or so and I didn't press record, so let's call that out now and let it out.

Um, Jeremy, before I realized that I wasn't recording, I had asked. You both grew up in Australia. And could you maybe retell me a little bit about your childhood and who Jeremy was, uh, in, in Australia?

Jeremy Elliot: [00:00:41] Sure. So I grew up, uh, on the West coast in a city called Perth. And Perth is well known for its sort of a, you know, outdoors, beach focused lifestyle.

Um, you know, it's, it feels almost like an oversize town when you're there. Um, just because everyone's so chilled out. Um, and work is really sort of secondary to, you know, just living life and enjoying, um, you know, the natural beauty of the city. And so for me, my childhood was a lot of, you know, spending time outdoors, spending time at the beach, um, you know, playing sports with, uh, kids in the street, playing backyard cricket.

Uh, and yeah, just sort of, um. Enjoying the, you know, holidaying in Australia as well, like being able to take trips with the family around the country. Um,

Noemie Le Coz: [00:01:31] so you had a pretty idyllic childhood.

Jeremy Elliot: [00:01:33] It was, it was.

Noemie Le Coz: [00:01:34] Jeremy's parents' house is like one straight back from the beach. It's like very. Hiss family's incredible.

Jon Sorrentino: [00:01:42] Did you grow up surfing and stuff like that or or is that just like totally like stereotypical Australian that people get wrong sometimes?

Jeremy Elliot: [00:01:49] My, I did a little bit of surfing, but it wasn't like I wasn't getting up at 7:00 AM before school. Like my, my neighbor. Who was the same age as me, he would do that because his whole family. It was sort of, that was like the vibe and a lot of people in my suburb did that. Um, but I would, I would go down to the beach and just body surf or snorkel

Jon Sorrentino: [00:02:10] Being a block away from the beach is amazing anway so.

Jeremy Elliot: [00:02:14] The problem is you end up taking it for granted and then suddenly you moved to New York and you're like, can I go to the beach in an hour?

Jon Sorrentino: [00:02:23] Yeah. You hear horror stories of like Coney Island and the Rockaways, whatever, and you're like, ah, I've got to get on the subway to get there now and stuff.

Um, you had made your way to going to school, uh, Curtin University of Technology and Media Design and, um, you know, I'm curious, what made you decide to go that direction? You know, wass there anything before. Making the decision to go to school that you were interested in creatively or anything like that?

Jeremy Elliot: [00:02:51] Yeah, so like I didn't really know what I wanted to be throughout high school. As you sort of start to put your, um, you know, your uni preferences together. Um, you know, a lot of people in my, my city sort of Perth, it's very dominated by the mining industry. And so a lot of people were sort of going down the engineering path and I, you know, did work experience at both an engineering and architecture firms and, um, you know, enjoyed elements of it, but sort of realize that neither were really, um, careers that I wanted to pursue.

And then I ended up going and visiting my brother who lived in Melbourne at the time. Um, and one of his mates had. Uh, just finished a multimedia degree at Swinburne, which is where Noemie went to school. And, uh, he was just telling me about the types of things that they were doing. So like motion graphics, film and TV, like a little bit of film and TV kind of video work, um, graphic design, web stuff.

And it was just like, it felt, it felt, it felt fun or, or at least it sounded fun. Um, but it also sounded like a pretty good mix of different types of things you got access to. Um, and so I went back to Perth and sort of researched options to do that. And Kern was kind of the best place to do that. And so, um, that sort of led me down that path.

It was really just, uh, I didn't really know what I wanted to do. And, you know, I, I did enjoy creative things growing up. And, um. Yeah, that was sort of where of how I landed at Curtin.

Jon Sorrentino: [00:04:23] Noemie you also grew up in Australia?

Noemie Le Coz: [00:04:25] Yeah. Yeah I did.

Jon Sorrentino: [00:04:27] Did you grow up anywhere near Perth?

Noemie Le Coz: [00:04:29] No, I grew up on the opposite coast, basically Melbourne.

I lived my whole life in Melbourne just before moving to, and that only changed when you moved to New York, so. Yeah.

Jon Sorrentino: [00:04:41] Were you also a block away from the beach?

Noemie Le Coz: [00:04:43] I actually was. I lived on, well, a lot of my childhood. I lived a block from the beach. Well, yeah. Um, we lived like on the Esplanade in as a suburb called Saint Kilda.

Um. And so, yeah. Yeah. But I was much less of a sporty kid

Jon Sorrentino: [00:05:01] Not playing rugby or cricket or anything like that.

I was

Noemie Le Coz: [00:05:04] always the kid like at school that would always find excuses not to be, not to be playing.

Jon Sorrentino: [00:05:10] She's on time, can't run the mile, can't do it. You make your way to Swinburne. Um, and what kind of, what raised her eye about that, or what intrigued you about going to school for?

Noemie Le Coz: [00:05:23] So design. I had never really thought about it until I was sort of around 15 and something in my design classes just started clicking and all of a sudden I was just really excited about it and I think it was the one subject that I just like truly looked forward to and was just like super relaxed in, and I just started to like really nerd out on it all.

Um, and I don't know, I think I, I think that was like something about some magazines that attracted me. To it and kind of the glamour of that world. And then I actually went to a really academic school and I think I was a little bit kind of, I didn't quite fit in into the academic world and I was a little bit kind of turned off how intense it got at times.

And I think design for me was like this really nice class where I could just kind of like chill out and just like, not take life as seriously. So I kind of just, um, filled all of my like, courses leading up to college. We call it university. With like design heavy stuff as much as I could. And, um, by the time.

It got to university. I was like so ready just to like dive straight into it. And I was really lucky that I had a really, really good teacher in year 12 that, um, that really encouraged me and kind of guided me. And um, Swinburne was the top, well, one of the top three universities you could go to out generally out of like Swinburne and Monash and RMIT and.

So Swinburne, had a really strong focus on like industry placement. Um, so basically like in the fourth year of the degree, or sorry, third year of the degree, they actually place students for six months as an optional thing in a real life, um, studio. Um, and so I thought that was really cool. And I also had like an exchange program and some other cool things.

So. Yeah. I applied there and got in and loved it.

Jon Sorrentino: [00:07:36] You, you mentioned this kind of program where they place you into studios. Is that when you started working with Binocular Studio?

Noemie Le Coz: [00:07:42] No, so say um Studio Binocular was my first job straight when I, after I'd graduated, I worked, um, for six months placement placement was at tiny little graphics density code Chimera Design.

Jon Sorrentino: [00:07:55] I was calling it Camira so I'm glad you said that.

Noemie Le Coz: [00:08:01] And, you know, they were like a super humble, small little shop. We did a lot of sort of FMCG packaging for Australian brands and sort of, you know, worked on, you know, in government and education, kind of publication design, that sort of thing. But it was the perfect, environment, for me, it was just, you know, four or five people, um, to really learn the basics and how like a studio ran and how to act and be in a studio, and just like observe people, um, and learn how to like set up business cards to print, like really, really basic stuff. But in a really just like super fun, relaxed environment that I got a lot of one-on-one mentoring in as well. Like they were really. You know, the studios that took part in this industry placement program, you know, it was, they weren't really getting much out of it apart from, I guess like a, a cheap junior designer.

So yeah. They will always a sort of, they were always just like generally run by like really lovely people. Um, and Chimera was, yeah, like no exception. I would just like really, really lovely. I'm really, yeah, I think I'm really lucky that I did that.

Jon Sorrentino: [00:09:17] That's cool. Jeremy, um, one of your first roles out of school was at BBDO.

Hmm. And that's always, I mean, like, I think growing up in the creative industry, like BBDO is like the big ad, you know, company like that. It's like they're, the budget's all there and still to this day they're doing amazing work. You know? Is that, is that what you had in mind coming out of school?

Jeremy Elliot: [00:09:38] Not really, like I went through school not really knowing anything about advertising because I was just sort of, you know, my degree was more focused around, it felt a little bit more around like the practical side of becoming a designer, like getting on the tools, um, and learning those.

Um, and so, you know. I wasn't sort of pining for a career in advertising. I just wanted to essentially get a job. Um, and um, and you know, like, especially in Perth, like the advertising scene is, isn't like it is in Melbourne. Melbourne's really sort of like the creative, I would say probably the creative kind of like hub of Australia, or at least like.

Yeah. With Sydney,

Noemie Le Coz: [00:10:21] Melbourne and Perth are very different cities.

Jeremy Elliot: [00:10:23] Yeah. Like Melbourne is a little bit more sort of like focused on art and culture and music and you know. That, that kind of vibe because they don't have very good beaches.

Jon Sorrentino: [00:10:36] The beaches suck everyone's just really creative about it.

Jeremy Elliot: [00:10:42] Um, so I'd finished my degree in Perth and my brother and sister were in Melbourne and I went and visited them just after finishing uni. And they sort of said, while you're here, you know, why don't you try and get a job here and move here? Um, and I was like, well, it's actually a pretty good idea because Perth kind of, you know, I don't know.

I was kinda just like not really doing anything. Um, and I got, yeah. Like I ended up just applying for, you know, a junior designer role. Um, not really knowing what, be, you know, sort of the status of BBDO, um, cause it was in their digital studio, the job that I was going for. And so, um, yeah, I, I sort of, you know, was able to get that.

As like a, essentially like a trial. Um, and then it just sort of kept on going and going and turn into a full time role. And that was, that was incredible because it was working on advertising stuff, but in the digital studio with all digital creatives who sort of weren't you know, sort of those traditional ad tight creatives, they were, you know, it was very focused on like trying to create, um, amazing, sort of like essentially flash experiences.

Jon Sorrentino: [00:11:55] Interactive experiences when flash was still really big.

Jeremy Elliot: [00:11:58] Yeah, exactly. So

Jon Sorrentino: [00:12:00] I worked at that job where flash when, when they decided to derail flash we lost so much.

Jeremy Elliot: [00:12:05] The iPad, the iPad basically killed flash. Um, but yeah, so we were, I was there in 2008. And so I would say for like a good couple of years before iPods and iPhones became everywhere. We were doing like really nice, um, flash experience.

But, um, but yeah, BBDO was awesome because it was like going in there, not really knowing anything about advertising the way the agencies are. It was like, um. A really fun place to be. Like they would have big parties and everyone was just there basically to have fun. Um, which was a cool way to sort of get to know Melbourne as well as the city because there was lots of cool people working there.

So you would end up, you know, I was fresh there, so it was. It was a good vibe.

Jon Sorrentino: [00:12:54] Noemie, you from Chimera move on to Studio Binocular, and at what point did the two of you cross paths?

Noemie Le Coz: [00:13:03] Oh, not for years later. Oh, actually, no, sorry. We did meet with. Yeah. Um, yeah, so I started Studio Binocular after uni. I got really, really lucky there too.

It was just like a small studio where I just learned a ton, and they just had the best sense of humor. Um, also like kind of pretty like standard stuff like, um, you know, working again, like publication design for like universities and local government. And we do like, um, a little bit of work like architects and other kind of, um, like hairdressers and a few little fashion boutique fashion labels and that sort of stuff.

So classic kind of very classic branding. I learnt like a little bit of web design there. But their whole kind of approach was very much about. Um, like finding the lightest side of life and like, trying to inject humor into like, mundane things. Um, so like, or how can we like make this undergraduate brochure for science?

Like, feel really fun for like, young college kids. Um, so it was all kind of about trying to like pull out like the really, where's the fun in this like mundane thing. Um, which I think was such a huge lesson for me to learn so early. Um. So, you know, we'd work on kind of basic stuff, but we'd always have so much fun doing it just cause like everyone in the studio was just like constantly laughing.

And it was pretty close and it was really, really good vibes. So I was there for three years when I met Jeremy. Um, we met at like a young, um, advertising party, um, like put on for young creatives

Jeremy Elliot: [00:15:03] People in young people in advertising. Like there was like a, um, some kind of organization that was sponsored by all of the ad agencies in

Jon Sorrentino: [00:15:12] Everyone just kind of shuffles in

Jeremy Elliot: [00:15:17] BBDO crew, the gray crew, the DDB crew are all there.

Noemie Le Coz: [00:15:22] And my friend had

Jon Sorrentino: [00:15:24] a big gang, big

Jeremy Elliot: [00:15:27] rival agencies. Not everyone got along.

Noemie Le Coz: [00:15:29] My best friend had worked, was working Gray at the time, and just like, come to this party with me. I was like, I'm really, really, I'm not really into like, it was $35 entry and the whole thing sounded exhausting, but I like begrudgingly went along and, um.

And at like towards the end of the night, um, we like bumped into each other on the dance floor.

Jon Sorrentino: [00:15:56] Hey, I like the typography on your shirt.

Jeremy Elliot: [00:15:58] It was a doctors and nurse theme party theme. So that was like one where it was like animals seemed or

Jon Sorrentino: [00:16:08] AIGA should really pick up on this.

Jeremy Elliot: [00:16:11] But, um, there was some pretty memorable, like, other than us meeting that night. The thing that I'll always remember about that party is the, one of the organizers of it was dressed as a patient and wrapped in a lot of bandages.

Um, yeah. And there was like candles on the stage and his bandages that were all up his arm caught fire. He ended up having to go to the hospital for like burns, but it was just hilarious about the fact that there is an entire room of people dressed as doctors and nurses, yet none of them are actually going to actually do any guy with his arm

Jon Sorrentino: [00:16:47] Creatives just taking it another level and getting themselves in trouble.

That's exactly, that's so funny. It's theme, which is great, right? Yeah. Stop. Full stop right there. That's awesome.

Noemie Le Coz: [00:16:59] It was fun. So yeah, we've bumped each other there. And then, um, the rest is kind of history. We, I, a couple of weeks later, I had a trip booked with a couple of girlfriends to go to New York. Um, and so we were kind of dating up until the trip.

And then Jeremy wanted to go to a random music festival Montreal.

Jeremy Elliot: [00:17:23] Yeah. My housemate, my housemate was doing a trip across North America and he was in Montreal at the time and said, come over to Montreal and go to this festival. And so I was like, cool. I'll just go to Montreal and skip past New York on the way back.

Um, and then ended up spending a few days with Noemie in New York.

Noemie Le Coz: [00:17:44] We kind of hung out in New York in the middle of summer and had just the best time and came back to Melbourne. Um,

Jeremy Elliot: [00:17:54] Basically wanting to move.

Noemie Le Coz: [00:17:55] Yeah. Kind of like why don't we, cause we already had a few friends that had moved over here from Melbourne, so it was like they made it seem really easy.

And. And so kind of like,

Jeremy Elliot: [00:18:04] yeah, it definitely wasn't like a tourist trip to New York in terms of like, we did tourist stuff, but we weren't like staying in Times Square and shit like that. So

Noemie Le Coz: [00:18:13] we're hanging out with friends the whole time,

Jon Sorrentino: [00:18:15] Cool bars.

Jeremy Elliot: [00:18:16] Yeah, exactly. Yeah. I feel like just a little less like

Jon Sorrentino: [00:18:21] you could see, you start to see yourself like, I can

Noemie Le Coz: [00:18:23] do this, this could be cool just to try out.

And so like six months later we moved over.

Jeremy Elliot: [00:18:30] Yeah. We moved really quick, actually. No, we moved in nine months. We ended up staying in Australia just for that summer because we didn't want to move to the winter

Noemie Le Coz: [00:18:43] Moved in like March and, and I think we'd plan to stay here for like a year and just like, have a bit of fun and see what happened.

We didn't really have like, concrete plans, but, um,

Jeremy Elliot: [00:18:54] we want to stick it out and make sure that we could, you know, find work and, and

Jon Sorrentino: [00:18:58] you know, I was going to say like,

Jeremy Elliot: [00:18:59] going to the bother of moving, let's try and stay for a year or minimum and then. Time, just,

Jon Sorrentino: [00:19:05] Yea, you had mentioned it, you know, you had friends that had done the process before, so it sounded a little bit easier and attainable, but like what was part of that process?

I guess same mindset where if I want to move somewhere and I'm like, okay, I've got to find a job first, and then like I got to set these things up maybe. What are some of the things that like, you know, were key things that you had to make sure were in line before you decided to move?

Jeremy Elliot: [00:19:27] We were pretty organized.

Like we spent that summer basically working on our portfolios. And so by the time, and then just before we sort of were flying over, we started, we were pretty strategic. We started like hitting up studios that we wanted to work for.

Noemie Le Coz: [00:19:46] And I'd like troll the internet, trying to find design studios in New York but we also had friends that recommended places as well.

Jeremy Elliot: [00:19:54] Yeah. Like, um, we basically like hit up everyone that we knew in New York and compiled a list of all the places that we worked for wanting to work for.

Noemie Le Coz: [00:20:02] But we did go in without a job,

Jeremy Elliot: [00:20:04] like,

Noemie Le Coz: [00:20:05] Oh, wow.

Jon Sorrentino: [00:20:06] So it was just like, yeah, just did that.

Jeremy Elliot: [00:20:07] But we hit the ground running. So like basically the, within like two days of being in New York, we were like.

Basically like hitting up studios, organizing into

Noemie Le Coz: [00:20:17] We were just spamming, like mass, sending our folio out. What was I actually did that.

Jeremy Elliot: [00:20:25] Yeah. That was, that actually is worth mentioning. I think we

Noemie Le Coz: [00:20:30] did see cute little trick for young designers probably.

Jeremy Elliot: [00:20:34] Yeah. We did these personalized, um, websites for everyone that we applied to where there was a landing page before you got to hit our folios that said, Hey, studio, um, you know, we'd love to work for you, or, you know, we'd like to meet you guys, but because of these reasons and sorta basically show that we had researched who they were and what type of work they were doing.

Jon Sorrentino: [00:20:59] At that point, it was just copy and paste emails. As I say, I say everyone now I'm like, don't like rewrite an email. Like you can use the same format. Just rewrite it though, because I've done that so many times where the name is like, hello. Uh, Stefan Sagmeister just like, shit. That's not

Jeremy Elliot: [00:21:23] totally,

Noemie Le Coz: [00:21:23] it's even worse when you send them the wrong link anyway.

Jon Sorrentino: [00:21:28] At that point you can like FTP really like, Oh, sorry.

Jeremy Elliot: [00:21:31] Just take it down. Um,

Noemie Le Coz: [00:21:34] A lot of studios like really loved that. I haven't seen that since actually.

Jeremy Elliot: [00:21:39] No

Noemie Le Coz: [00:21:40] No, I mean, I haven't seen, junior designers.

Um, but anyway,

Jon Sorrentino: [00:21:49] More of that.

Noemie Le Coz: [00:21:49] Yeah. Yeah. So that really worked. And within like a couple of weeks, we both had jobs, which was insane.

Um. It was like we'd kind of assumed that we'd spend like a month, kind of like partying and applying for jobs and stuff, but after a couple of weeks, like I was sitting at a desk.

Jon Sorrentino: [00:22:07] Noemie you ended up at pentagram, which is like, okay, landed first job Pentagram like

Noemie Le Coz: [00:22:12] crazy.

Jon Sorrentino: [00:22:13] Set the tone for New York, here we go.

Noemie Le Coz: [00:22:15] I had no idea like the weight of what that meant as well. Like, I honestly didn't really know that much about pentagram. Um. So I kind of like begrudgingly, like ended up on an at a desk after two weeks of landing. And I was like, okay, I guess, yeah, actually,

Jeremy Elliot: [00:22:34] yeah,

Noemie Le Coz: [00:22:35] We didn't have enough. They weren't enough, um, like desks available when I first arrived there.

So I actually started working initially in the basement of what, um, where Pentagram used to be in a Flat Iron District, which was an, you know in an old bank, and so I was working in like the basement of that had these like these vaults where they used to keep the money. I was like, this is cool. I was happy.

Yeah. And I actually thought it was kind of cool. The novelty wore off pretty quickly.

Jeremy Elliot: [00:23:10] Like

Jon Sorrentino: [00:23:10] it's dark, pretty secure down here.

Noemie Le Coz: [00:23:12] Yeah. Yeah. It was fun though. I was definitely excited about being now, I just started thinking I had any clue like how lucky I was. Yeah.

Jon Sorrentino: [00:23:21] Were you able to work with some of the principals?

Noemie Le Coz: [00:23:24] Yes, I was working under Emily Oberman. Um, and that was an incredible experience, but there was a little bit of crossover sometimes. So I mean, Michael Beiruts team was sitting right next to us and then Paula Scher was up one level. So occasionally there'd be some crossover with projects and I'd get to work with them as well, get to work with their teams.

Um, but pretty quickly I started to realize kind of that I was around some pretty big names and you know, it even. Even just little things like every week on a Friday, that'd be like a talk by like some sort of big profile designer who I'd only just be learning about, but everyone else knew. Um, yeah, it was like, um, you know, just little things like that.

Um, and just like pretty quickly realizing that I was also working amongst, like the other designers that I was working with were on a level that I'd never. You get to be around them.

Jon Sorrentino: [00:24:28] Jeremy, you, you also worked, uh, ended up in a studio, uh, Fluid and was that sort of, you know, was that like a key, you know, like intention behind from where you were coming from in Australia and doing the work that you did at BBDO.

Jeremy Elliot: [00:24:42] Yeah, well, I wanted to work for, like, I wanted to work for more of a design, a design shop rather than like an an agency. Um, and so, you know, my search was to find somewhere that was really focused on just designing websites or digital experiences and Fluid was, you know, a product design shop doing a lot of e-com or just, you know.

Yeah, like ecommerce, basically any kind of, um, experience or it would be a site or an app or whatever. Um, and so that was, it was a really good sort of landing spot because it was small, probably in the, about 25 people in the New York office. And, um, so it was a good way to sort of be introduced to New York where you could make friendships pretty quickly and sort of, um, you know, get a feeling of the work culture.

Rather than being in sort of like a massive place that sort of just, you're just making up the numbers. Um, so that was really good and I was able to work on some, um, some good clients as well. Like they had. You know, the first project I worked on was Levi's dot com which quotes like, you know, I kind of, you know, I had access to good clients in Australia being at BBDO, but it was like, you know, designing shit for like M&Ms like competitions and like be a company like promotions and stuff.

And so to be out of like get a project that wasn't going to be like a two week or three to four week project, but more like a three to six month project, um, was kind of like interesting for me and sort of, I think it gave me a little bit more buy into the project, you know, as you sort of, yeah. Watching this design progress over time and getting to know the clients better and getting to know your team better

Jon Sorrentino: [00:26:26] you feel invest invested,

Jeremy Elliot: [00:26:28] Invested totally.

Jon Sorrentino: [00:26:28] When you have the pair, you know, I'm sure we all want at least one pair of Levi's jeans. You're like, yeah, this is cool.

Jeremy Elliot: [00:26:34] Yeah, definitely. There was that feeling of like really like big excitement and enthusiasm, like going into work and it was probably, you know. Spurred on by being in New York and sort of having that energy around you that is so like, um, contagious when you first arrive.

Um, and so, like, it was, it was really good. Um, and I was there for like three years. Um, and you know, as you know, you know. You end up wanting to explore other things there

Jon Sorrentino: [00:27:07] Sure yeah. You both shuffle around and end up working at RoandCo Barbarian group, Firstborn. Uh, you've worked with Apple, you know, I guess through those years, cause we can go on and talk about each position.

There's so much work that is done at all the spots, you know, what are you learning about yourselves through that time? You know. Are there things that you're like, Oh, I don't want to do this work, but I'd rather do that work. You know, like, what are some of the things that you're learning as creatives? And then I guess, you know, just being in New York as well.

Noemie Le Coz: [00:27:35] Yeah. Um, I think it was really, really helpful for me to bounce around. Um, like RoanCo for me was such an incredible learning experience. I learned so, so much that I was there for two, two and a half years, and kind of like started as a midway designer and lift is like an art director. And, um, that was.

Really, really just huge for me, but it also made me realize that I didn't really want to work in kind of the fashion lifestyle branding world as much like it. It was actually really fun on some levels, but it wasn't, I couldn't take it seriously and just like didn't fit my personality that well. I'm a little bit more, I just wasn't challenged by it.

Um, and I think I'm a little bit like kind of, I just, sometimes I don't take design super seriously. I enjoy that part of design and just like having fun and making stuff that I think is like going to be a little bit more fun. Um, and so that was like really helpful for me to, to realize pretty early on that I just.

That I needed to kind of involve myself in projects that, um, that I, that maybe had a little bit more depth and challenge to them. And then, yeah, I kind of, after RoAndCo kind of bounced around different small studios that had a similar vibe to her own call, actually, like Hugo & Marie and Partners & Spade and.

They kind of like made me realize, okay, cool. I've done this like small studio thing where the work's like enjoyable, but I think I want to go a little bigger or kind of be able to like approach projects for clients, you know, with a little bit more autonomy. So kind of like maybe. You know, the briefs might be similar, but I think the approach, I really started wanting to like explore, like what if we were to do something just kind of random and fun, and that felt inherently like something I would want to be a part of.

Um, and so then, then I started to do kind of a little bit bigger broad strokes in my movement. So I went to Apple and I went to Google Creative Lab. And those were true, completely polar opposite experiences, but they really, like, I went to San Fran, um, to work at Apple for three months and saw, I was pretty, um, by myself there and kind of able to really just like get into my own head and, and meet like really different people.

And, um. Kind of just like really see how an organization like Apple works and was kind of thrown into the deep end there a little bit and just let myself, um, let myself struggle some days and let myself realize some days that I actually knew what I was doing, which was really nice and, but you can't, I don't think I was able to grow and like say that from kind of staying in my comfort zone and little boutique studios and, and so I, yeah, I'm really, really happy I did that.

And then Google Creative Lab was insane. Full of just like the complete opposite to Apple in that, that was just like. Apple was very quiet and polite and everything was like very, about, very much about being precise and iterate, really, really like iterative, but like in in much smaller ways. Whereas Google Creative Lab that was like shit everywhere, everywhere, and like people will screaming at each other and people will like making stuff that like they, no one really knew if it was going to go anywhere, but it was much more just like throw stuff at a wall. See what sticks. Just super, super agile. And I learnt there like one of the biggest things I learned actually was like if you start building a deck for an idea.

Eventually it can, that thing can actually become an idea. Like if you can start just like making it happen even in just like a Google slides deck, like that thing is going to have to go somewhere at some point if you keep working at it and that was kind of like the brilliant thing, creative lab, where all of a sudden, I mean, it helped that, you know, it's Google and they have cash to kind of play.

But, um, that was like one of the biggest lessons for me. And I think, and, and then after that, I kind of just started getting projects that I could work on from home. So I, I, at that point I was like, I'd learnt quite a lot of different types of skills and realize like, Oh, I do want to work with these types of people, or I just kind of want to do my own thing for a little bit and then pull in these like total expert for this one thing, and just started taking on projects and just approaching them in, in however way, you know, felt like that I was still enjoying myself.

Um, and then it kind of just. I went from there,

Jon Sorrentino: [00:32:51] I'm going to take that know about starting a deck and just use that from now on. I think that's, I think that's so true though. If you like to just kind of start one slide at a time, the time

Noemie Le Coz: [00:33:01] and not be precious about it. Just like put stuff on a page. Even if you don't really know what it's doing, they're like give it a heading and all of a sudden like it just starts to become this like working document it like is super easily updatable and like.

Yeah. For some reason it just, it always, um, I do it, I use Google docs for like everything now and it always just becomes, it's like really nice thing. You can just like go to a link, you'll stuff's there. You can move shit around really easily and like, it works out. It really helps. Yeah.

Jon Sorrentino: [00:33:36] Jeremy, where are you in all this process?

Um, you know, w where's New York taking you? What are you learning about yourself?

Jeremy Elliot: [00:33:43] Um, like, I think coming from Australia with like. It felt like when you're a designer, you're sort of wearing a few more hats. It was less specialized in New York, you know, arriving here, it was like I quickly got put into the box of a visual designer and then there was a UX designer who was sort of passing me wire frames or like, you know, the start the building blocks of a website.

And you know, initially I really enjoyed that and I was like, cool, I'm going to like you know, my skills are just going to get better and better at being a visual designer. But then, you know, within, I would say like a year or less than that, I was like, I want to be doing the UX, not because I want to be a UX designer, but I want to be making these decisions and have a little bit more control rather than sort of just receiving something down the line.

And so as sort of, you know, I guess throughout that period of time, I was sort of angling to basically become what I was back home, which is just that, just like a general web designer where I was doing the UX and then I was doing the visual design and, um, I was able to make that happen. Um, just by essentially sort of volunteering and putting my hand up and, um, being, you know, as you sort of go up the ranks, being able to sort of, you know, assert some control over, like who's doing what.

Um, and so that was, um, for me, you know getting exposed to sort of the UX design side of things was, you know, a learning experience in a sense that you're starting to get inside their head of a user a little bit more. Um, especially when you're sort of working on conversion based products. Um, what's gonna work and what's not gonna work.

And then getting exposure to like user testing and trying to basically get my hand in on every part of the process up until development. Um, and so. That was, that was sort of my angle. Um, and just basically to have control over the design.

Jon Sorrentino: [00:35:48] I think now, you know, I've, I've definitely gone through that same experience where you just sort of raising your hand cause you want to get in that, but then, you know, at some point you're like, yeah, my skills, my visual design skills are gonna like ramp up a hundred times.

And then. In that year, two years, whatever it may take anyone. And you're just like up, I think a, I want to do something else now. And you're just like, okay, cool. And you started like seeking out those opportunities.

Jeremy Elliot: [00:36:11] I always loved like working on multiple projects at a time so that you don't, you know, so you don't get tired as quickly.

Um, and so that was also like, I think. Throughout all of my different jobs, I've had ups and downs where I've been stuck on clients for a long period of time. And then you get burnout. And then other moments where you do get that sort of like high-frequency turnover of stuff, which I sort of ended up basically enjoying more.

Um, you know, by the time I was sort of all said and done with agency work, um. Having that variation to me sort of keeps the spark going a little bit longer. Um, even though you are getting sort of dragged around a little bit more, and you know, like when you're working on a project for six months or even 12 months, you can sort of fall into a bit of a, a comfort zone, um, where you just sort of plugging away at the same thing.

And, um, I think it's important for agencies and studios to try and provide that turnover. And it's sometimes, you know, sometimes in places it's more talk than really happens. You know, promises may not

Jon Sorrentino: [00:37:26] come to fruition,

Jeremy Elliot: [00:37:26] come to fruition. And so that can be frustrating for sure. And I, you know, I definitely felt that, um, from time to time, um, and you know, then that, that sort of starts your eye wondering to other opportunities as well.

And I think that that's somewhat natural. And, um, you know, I think people should probably, in my experience, I'm happy I pursued other opportunities and move from studio to studio, um, to try and get that, you know, the different mix of work. And I've always liked, you know. Peppered in a little bit of ad work here and there as well.

Just exactly. Just you know, stuff to, so you're not always just designing a website, you're coming up with ideas for like a piece of content. I think it's also fun to be able to have access to not just, here's a. Sketch files, start designing, designing boxes on a page, but like

Jon Sorrentino: [00:38:20] Cards? Cards on a page that's exactly, totally what, when does the idea of working together start to pop up?

Because you know, I'm going to definitely need a little bit of help navigating this leg because there's, you know, I'm sure there's crossover at plenty of times, but when, when does that become a conversation?

Noemie Le Coz: [00:38:38] I had been freelancing for maybe one or two years at home, um, and was kind of, things were going really well and I was kind of able to like sleep in some days and like work from bed in the mornings and Jeremy was still kind of not sleeping in and going to these like nine to five job.

Um, and I don't know, you can speak for yourself, I guess.

Jeremy Elliot: [00:39:10] Well, I think you, the projects that you were working on were with clients that needed, like they were coming for branding. Um, but then also would most likely need web design. Um, and so Noemie was designing sites for a couple of these clients, and then, you know, it's throughout that I was sort of coming home from work and giving her a hand with staff and we were working on some, some like very light stuff together.

And then that I think really sorta like it dawned on us like, Hey, you know. Your clients need websites. I design websites, basic

It only took us, you know, seven years for us to realize

Noemie Le Coz: [00:40:00] kind of

Jeremy Elliot: [00:40:01] our skills complemented each other.

Noemie Le Coz: [00:40:03] Right? I think coming towards the end of what you felt might be your experience. You know.

Jeremy Elliot: [00:40:11] It was, yeah. It wasn't a very long period of time from like when we were like, okay, we should do this. To the point that I quit, like it was probably like two or three months where I was like, Hey, this is, this is a thing that we want to pursue.

So I started just basically stayed at the agency at Firstborn until, I think it was the end of that year, which was like a few months, and then I'm handing in my notice and then we were sort of basically working on projects together pretty quickly.

Noemie Le Coz: [00:40:42] I think though we kind of didn't know really how it was going to go.

Like I was getting a very solid flow of work coming in for the stuff that I was doing, but not all of it needed web design and Jeremy had never been freelanced before and. We were kind of like, let's just see how it goes. Let's just, let's just do it when we're never gonna know, unless

Jeremy Elliot: [00:41:04] Worst case scenario,

Noemie Le Coz: [00:41:06] you know, go back,

Jeremy Elliot: [00:41:08] go get another job.

Freelance by myself and not with her

Jon Sorrentino: [00:41:13] Kicked off the couch.

Jeremy Elliot: [00:41:17] But we did want to try and work on projects together, um, so that we could essentially try and like make each of our ideas better.

Noemie Le Coz: [00:41:28] But I also, like, you know, I, I went into a pretty apprehensively, um. You know, we are husband and wife. Um, we didn't really have any plans to like go and works like where we were very happy working in this space.

It's like, it's like on a lot of natural light. It's nice and big and kind of just like. It works for us. So we knew we were going to be spending a lot of hours together. Um, and I was like, Oh, I don't know. Let's just see how it goes. Like, I don't really know, but let's just say, and um, and it, and it's worked out really well.

I knew initially that there were definitely some. Um, it was like a bit of a teething period,

Jeremy Elliot: [00:42:15] I would say the first two months, um, there was like, you know, flare ups and things like that as we were both getting used to like, okay, now we both want control over the ideas. You know, like, we're both used to having control over the ideas in our previous life or whatever.

And now we're like sharing that creative vision. Um, so we just basically like laid some ground rules out.

Jon Sorrentino: [00:42:41] Would you care to share? Cause I think, I mean, I think all of everything is, is everything you've said is super valid, right? You're spending a lot of time with each other. A lot of conversations outside of not just being in a relationship, a partnership, but now you're working together.

So then, you know. Share some ground rules with me.

Jeremy Elliot: [00:42:56] I know it was very naive of us just to sort of throw ourselves into it without even really thinking about this. But you know, it's, you learn as you go, but

Noemie Le Coz: [00:43:05] lived our whole life.

Jeremy Elliot: [00:43:06] It's true. We

Noemie Le Coz: [00:43:07] never really planned anything.

Jeremy Elliot: [00:43:08] Um, but, um, yeah.

Noemie Le Coz: [00:43:13] What actually like happened, I think where the crossover in our skill set.

Was so like really random stuff, like the design of the CTA button. Like honestly that was where the like, like the pixel radius of the rounded edge on this CTA button,

Jon Sorrentino: [00:43:35] I would pick up. I would do that

Noemie Le Coz: [00:43:37] We both had such strong opinions on it. Like I would, the beauty about working with your husbands that you know you can, you've got like a pretty easy flow of communication.

There's also like for me, outside of work, there's generally like no filter with whatever I'm saying to Jeremy, like whatever is in my brain, those words, those words will come out and there will be no like moment of like

Jeremy Elliot: [00:44:02] we were operating, we were operating our like professional work the same way that we would.

Operate our personal life and not just

Noemie Le Coz: [00:44:10] pretty brutal feedback, like

Jeremy Elliot: [00:44:14] just like pretty brutal in terms of like respect to each other, to like into like either of us would be working on, you know. Clearly focused on writing an email to a client or whatever. And then the other one would just be,

Jon Sorrentino: [00:44:30] what are you doing?

Jeremy Elliot: [00:44:32] And be like, I need you to look at this. And it's like, well, now I just lost focus on whatever thing I was doing. And so we, we kind of quickly realized that in a workplace. You don't, if you see someone sitting at their desk and they're focused on something, you're not going to go up and annoyed them. And if you are, it's going to be with like, you know, tip toes on and polite interruption or a Slack message.

We had looking at the time. And so we haven't gone as sort of structured as like putting stuff on our calendar for a chat, but we did introduce some structure, which was like letting each other know what they needed to do for the day at the start of the day, so that there was some kind of, or start of the week as well, just so there was some expectations on what we needed to get done and get out and know if someone was busier than the other.

Know if someone's gonna be used to more stress than the other. And then like communicating to each other with respect to each other's time and focus and concentration, because that was something that we just took for granted. And, you know, it was something that when someone's locked in, in the zone, you know, sometimes it takes a little bit of time for someone to get in the zone and they don't want interruptions.

Um. You know, that was something that we just weren't careful about it at the beginning and now we are. And that's, um, made it a lot more harmonious.

Noemie Le Coz: [00:45:59] Yeah. It sounds super basic,

Jeremy Elliot: [00:46:01] Very basic ground rules.

Noemie Le Coz: [00:46:02] Realizing that we did need to like put our work hats on in the morning, um, and, and really treat each other like we would as if we were working in a proper work, work place, um, that kind of instantly, like solved so many problems for us. So

Jon Sorrentino: [00:46:23] I think that makes sense. Well, I mean, you know, everyone's always like, Oh, it's super basic, but I'm like, our culture cannot say anything about emotions or feelings that makes sense. That's the ground floor.

So like to just say like, Hey, you know, like setting expectations early on in the morning, like when you're having a standup or something like that, like it's an office and then from there it's like, cool. Or you just mentioned, Hey, at two o'clock we should probably talk about this work. Like that all makes sense.

Like thinking thing rings a bell. Yeah,

Jeremy Elliot: [00:46:52] yeah, yeah. And then that made like creative reviews with each other or creative discussions with each other. Um, way less intense, less tense in terms of reactive, less reactive, more considered, because we were like, yeah. Um, you know, sensitive to each, uh, more sensitive to each other's like position in that moment.

Um, and you know, I think that has reflected in not just like our working relationship being a lot chiller, but also like, I think the work, the work that we're doing now is more collaborative, um, and less just like you're doing one thing and I'm doing the other or whatever.

Jon Sorrentino: [00:47:36] I want to make sure I kind of mentioned some of the work that you two I think have done.

So this is the part I might need some help navigating before I ask more about like the process and what you guys are looking to achieve now as a, as a, you know, studio. Um, but very much this year, I think. A standout brand to me was the work for, for Billie. And was that a project that you two were able to kind of collaborate on?

Noemie Le Coz: [00:47:56] Now we are working together for a lot of Billie stuff, actually.

Jon Sorrentino: [00:47:59] So jealous, like if I don't really shave as it is, but if I did, I'd be like, yeah, I want this.

Noemie Le Coz: [00:48:07] So Billie came, um, Billy were looking for a designer. They basically started by two founders who were looking to create a razor, a brand, needed someone to do all the design work and found me.

I was freelancing at Partners & Spade at the time, and found me through that. And, um, I'd just gone freelance and working for a razor company at the time wasn't like my dream job, but I met with the founders and I could tell that they were going to let me do something that I thought was, you know, get, give me autonomy to kind of create what I wanted to make.

And so I kind of just like realized I had nothing to lose and kind of just created like this like what would be like the dream brand that I would like want to like be part of myself. And so. Pitched it to them, and they went with like pretty much whatever I presented. They're like, let's give it a shot.

Let's go with it. Um, and so Billie was born, you know, two or threes are right now, two and a half years ago. And, um. And so it, it would become like my side retainer work. Um, I'd go into the office, you know, one or two days a week or work for Martin Leon. A lot of this stuff that they needed for launch and after launch, and then we hired a design and then they hired a full time designer.

Um, and kind of organically my role there as we grew, we grew pretty quickly, um, and you know, someone needed to lead, the design team and kind of build that. So my role kind of organically moved into creative director position there. And then when Jeremy would freelance. That hated a really good time because we were looking to redo a lot of our digital stuff at Billie, and so pretty casually, I kind of just like started giving Jeremy stuff that just needed to get done, but I didn't have time to do.

And then, um, we kind of moved into re-imagining our current website at that point I was like, this is a perfect project for Jeremy just to like learn and for me to kind of like work with him to make sure that like the brand was being, you know, there was like equal parts, commerce and brand, um, working as well together as possible.

And, and it was perfect cause Jeremy's background in e-comm, he knows like best practice econ, like the back of his hand, he's worked, I'm like and like and so I knew that, um, it would be a perfect project for, for us as like, you know, a team to be kind of bringing our two minds together on.

And so Jeremy then started coming into the office as well. And. And now Billie works, we've us as like Little Troop, um, and we both kind of go into the office a couple of days a week.

Jon Sorrentino: [00:51:04] That's cool. Yeah. So you know, you had mentioned that the founders pretty much were really open from the start and you pitched them a bunch of stuff.

What does that sort of, cause I mean, you've gone on to work with brands like Hilma and you know, a Girlgaze and they all sort of have this like kind of underlying theme of like humor and design centric thinking and like brand. What is a little bit of that process too? You know, I don't want to say disarm, but like how do you get an a founder or a client on your side?

And that way that when you do start to like that is the constant, like dance said, everyone is always.

Noemie Le Coz: [00:51:40] Yeah, totally. I think, um, I think, you know what? I think it's, um, I have a lot, personally, I have a lot to thank, um, my first studio for, Studio Binocular that introduced me to this idea that like injecting humor and delight and surprise into like everyday mundane things is actually like, is not only the way to have more fun yourself designing things, but it's also a way to, you know, the world is like a tough place and it's a way to make just like really small moments, a little bit more enjoyable.

And, um, and so I think for me personally, like when it came to like pitching the work for Billie, it was, well, Billie was like a perfect, a perfect brand to pitch something like, you know, magic in the mundane, which was like one about, what about taglines now? Because it was something as mundane as razors and it was like perfectly primed, like let's make this thing really, really fun.

And there wasn't really any reason not to. Um, it wasn't like a super deep. You know, really serious product. It was something that needed a little bit of an injection of like energy and freshness. And so it was like this perfect clean slate that the founders were kind of down to, to, to push, um, creatively from the get go.

And then from there I think it's about, it's about communication in those initial like concept, pitch meetings. It's about kind of, for me, it's about pulling references from the past and creating something that what we always go back to is creating something that feels equal parts familiar, but fresh. So like pulling references from.

You know, like the eighties and nineties that we all inherently understand, and like what, what did the most iconic version of that brand do back in the eighties and nineties that really worked for some reason, and what's a way we can reimagine that and inject a little bit of humor and a little bit of fun, a little bit of color to make it feel like a completely new brand, but it's somehow strangely, oddly feels like kind of familiar.

So I think. Um, you know, convincing clients to push creative is like always a little bit tricky. But I think. I think we've also hit at a good time where it's becoming pretty obvious that like the legacy brands do need to start shifting their game. I agree with that.

Jon Sorrentino: [00:54:32] Now the level is raised and all like, well, we have a really good manufacturing line.

We can make things really cheaply. I'm like, okay, what's next? It's like, well, design, and

Noemie Le Coz: [00:54:41] I'm like, yeah, and we also had a time, I think. For startups where, you know, we'd had like the Harry's and the Casper and all of that, and they, you know, made a huge impact. But the market was becoming oversaturated with, with startups that would just same, same.

And it was starting to become really obvious that people were just like copying each other. And I think the founders must've realized that at the right time and realized that we needed to push what we were doing. And so they were open to it. And. Same with a lot of our clients. I think in the fall, in the couple last couple of years, I think it's become really, really obvious that we, that, that, you know, we're just.

It's, we need to mix it up and get, get a little bit more creative completely.

Jon Sorrentino: [00:55:32] You know, I'm excited to see the work that you two continue to produce. And, um, like I said, I, if I shaved a little bit more, probably with wildly the ordering from Billie branding so much, but you know, as a studio now, um, after kind of talking about how you guys started, you guys have any sort of goals or ideas of what you want to achieve with little troupe? Is it like, you know, keeping small and being able to have this kind of intimate connection with brands? Or is it like scale up and make Little Troop, Big Troop, you know, what's going on? Um, and if it's early days, you know, feel free to cut me off.

Jeremy Elliot: [00:56:05] No no all good. We like, honestly, we're not very like five year plan. Type of people. Um, and so we don't have like a, you know, like a deck for ourselves almost that like maps out our future. But we definitely like working just the two of us. I think, you know, there could be potential for us to grow as a team, but I think it would be based on what you know, work opportunities present themselves as well if there's sort of demand there. Um, but we, yeah, we definitely don't have like grandiose visions of, of the company sort of turning into an agency or anything like that. I think we both have like feelings about, you know, how things can change as things scale and how things can, you know, you can sort of lose aspects of what makes things great as that happens as well.

Um. But yeah, in terms of the work, like we've done a lot in the last year. Like in our first year, we've done a lot of sort of startup D2C brands coming off the back of, you know, uh, things like Billie. Um, and, you know, our goal is to try and sort of. Expand, expand the type of work that we're doing beyond those type, you know, those types of brands as well.


Noemie Le Coz: [00:57:30] yeah, I think we've kind of like, especially for Billie, I think we feel like, well, I personally feel like Billie's as good as. Um, as good as you can get from like the creative standpoint, you know, the, the projects that I'm working on for Billy now were super exciting, were going to put out a bunch of new stuff this year.

And my working with, we just worked on a shoot. I just did a shoot for them and pulled in literally my favorite photographer in the entire world. And so, yeah. And so in terms of like, being able to do that for another D2C client. I think for us it doesn't seem as exciting. So we've started to kind of broaden a little bit the sorts of clients that we're pulling in.

So, you know, Girlgaze is a good example of that. Um, that still has like a really good mission. And, um, you know, similar to Billie. The founder has like really, really strong ties to kind of like empowering women. And that's really cool. And then we've just, we've just taken on another project, um, for Dakota Johnson's new production company that she's starting. Um, it's called Tea Time. And we're doing the website and, um, and the identity for that, which is really cool. And, and we're starting to get projects in now that are actually kind of more in that entertainment world kind of art world, designing for other designers, that sort of stuff, which I think for us, um, is exciting because I think it moves a little bit away from.

Designing just to push product, which, which, you know, at times can just get a little bit. Um, yeah, just, it's just a little bit constraining, I think, um,

Jeremy Elliot: [00:59:15] to the conversation around the founders as well. Like we definitely noticed, um, a difference between the type. You know, like working with someone like Girlgaze, like the ideas that, you know, like you're essentially sort of empowered to let the ideas just sort of like go where they take you and everything, you know, you know, you feel a little bit more empowered just to sort of like go a little bit more crazy, I guess you would say.

Um, and. We definitely, I think anyone kind of enjoys that.

Noemie Le Coz: [00:59:50] Yeah. Um, but then in terms of what we're going, what we're saying before, in terms of kind of growing the company, I think we're finding that there is a lot of strength in us being super like nimble and small and agile and able to just kind of like.

Keep it really focused, but then pull in experts that can do what, um, can do things better than us where necessary and where it works. So, for example, the project we're doing for Dakota Johnson. We've just pulled in the most amazing animator. He just was actually a young guns winner. Um. To bring to life the, the identity that she chose.

And so he's designing kind of like a motion graphic for it. Um, you know, you know, in a way that Jeremy, not that Jeremy and I we'd be sitting in after effects, for like months. Exactly. And so we just kind of like asked him if he'd be interested in, just handed it over to him. And he's currently working on it and we're just so excited to see what he comes back with. So that's like, I think for us and you know, we've done that a few times where it's like.

You know, maybe a photographer or maybe it's, um, maybe it's someone to help us concept for photo shoot or, um, you know, we might, we could definitely hire an intern. Um, you know, sometimes, sometimes there are moments where we, we asked a working on the most granular stuff and we realized that it's probably not the best use of our

Jon Sorrentino: [01:01:26] Having that moment.

Noemie Le Coz: [01:01:28] Yeah, for sure. I think we are probably close this year, like I wouldn't be surprised if we were to hire, hire an intern. Um, you heard it here first, but um, but I think that's kind of what I actually see like the words like Little Troop meaning is that it's like it were really kind of small but were able to like bring in like the.

We're small and mighty, you know, we're able to bring in the right people to, to, to make up like whatever the troop needs to be for each project

Jeremy Elliot: [01:02:03] team of mercenaries.

Jon Sorrentino: [01:02:04] Yeah, exactly. Exactly. Well, I think, you know, I'm very excited to see some of the, some of the work rollout soon and, um, see the new website, where can, where can people find more of you two? And you know, some of the were in stay in touch with the work.

Jeremy Elliot: [01:02:20] So yeah, we just launched our website this week, but I guess by the time this is out, it would be, you know. Yeah, you may have already seen it. Hopefully

Jon Sorrentino: [01:02:29] more updates, maybe.

Jeremy Elliot: [01:02:30] Yeah. But no, we were definitely like rolling out more updates to the site over the next few months to keep it fresh.

Um, adding more work to it as projects go live. We've got some projects going live, um, in the next month. Uh, and then, you know. Insta, um, @littletroopinc on Insta is also a place that you can check out, like our work in progress, stuff that we like to post on that.

Noemie Le Coz: [01:02:56] Yeah, I think Instagram is probably the best place, but yeah, we, we like to post like kind of like, I don't know, a little bit more like kind of real content when it comes to kind of what we, what we're doing,

Jeremy Elliot: [01:03:08] less curated.

Noemie Le Coz: [01:03:11] Um, and. And, yeah, and we'll be, we launched with I think three or four projects, and initially not many, but we going to be kind of like dropping projects as we're able to launch them. So whether it be about, you know, the, literally the brand not launching yet and nothing ever to show anything or just not having quite finished the case study for one.

So we'll be kind of like, um, yeah, you can, you can step say, I don't know, Instagram, um, to see kind of when they'll be. That will be made live. Yeah.

Jon Sorrentino: [01:03:44] Noemie, Jeremy, thank you so much for joining me.

Noemie Le Coz: [01:03:46] Oh my God. Of course. Thank you so much. It was pleasure.

How Noemie Le Coz and Jeremy Elliot started Little Troop and make big work for clients like Billie, TeaTime, and more

Noemie Le Coz and Jeremy Elliot are the founders and designers of the new Brooklyn based design studio Little Troop. To close out season 3 of the podcast, Noemie and Jeremy welcomed me into their apartment where we chatted about their big move to New York, how they swooned every design studio to land their first jobs, and everything that led to them forming their studio Little Troop. While they are not only partners in their professional careers, Noemie and Jeremy also discuss how laying down some ground rules has strengthened their ability to collaborate as they continue to create amazing work for their clients.

Listen to episode 7 of season 3 with designers, djs, and founders of Love Injection Fanzine.

Listen to episode 6 of season 3 with writer and producer Aaron Barksdale.

Billie marketing design by Little Troop
Billie marketing design by Little Troop
Creative & Art direction for Billie by Little Troop
Creative & Art direction for Billie by Little Troop
Branding design for Block by Little Troop
Branding design for Block by Little Troop
Block marketing material design by Little Troop
Block marketing material design by Little Troop
Girlgaze website design by Little Troop
Girlgaze website design by Little Troop
Hilma branding design by Little Troop
Hilma branding design by Little Troop
Teatime pictures branding and design by Little Troop