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Photography by Ms Martien Mulder | Words by Mr Yale Breslin

Over the past 18 years, Mr Doug Lloyd has been helping his clients reinterpret their creative vision with LLOYD&CO, his New York-based agency that focuses on fashion and luxury branding. It started well, and just got better: his first client was Mr Tom Ford during his tenure at Gucci (Mr Lloyd was responsible for those sexually charged campaigns where the letter G was shaved into the models' pubic hair), and over the years his open TriBeCa workspace has been the marketing epicentre for brands such as Jil Sander, Yves Saint Laurent and Bottega Veneta. Ten floors above ground, Mr Lloyd adorns his office with keepsakes and artifacts that he's collected, in a space that was designed by the same person who worked on his apartment just a few blocks south. It's a suitably minimal concrete and white structure that shares similarities with some of his favourite New York art spaces. "I love the scale of the space and the shows that the Gagosian Gallery in Chelsea [New York] has done," Mr Lloyd says. "I also admire the interiors of galleries including David Zwirner, Lehmann Maupin and Team Gallery."

Why did you choose this workspace?
It's an old manufacturing building and I love the idea that printing and other trades were a part of its past. Ultimately, it's really about the light and open feeling.
Tell us a bit about what you do and why?
I do creative direction and branding for fashion, fragrance, beauty and lifestyle brands. I love the energy and the collaborative creative process that is involved in this industry.
What are you currently working on?
I'm working with Tomas Maier at Bottega Veneta on some pretty cool stuff. Each season he wants to reinvent the brand - finding those new artists to collaborate with and develop new art forms. It's been fun.
How would you describe the aesthetic of your current office?
It's like a gallery in my eyes - very minimal but functional and it suits my lifestyle. It's not a totally unique look but I love the idea of having a blank white palette. It's easier to show off the work and it also creates this non-cluttered, calm, Zen-like exterior. I also heard that [performance artist] Marina Abramovic just moved onto the floor. That should be exciting.
Why do you keep your workspace this way?
I am in a constant state of trying to balance having a lot of amazing references around and also a blank space where one can think and create.
If your office was on fire, what would you rescue and why?
Hopefully as many of the gifted photographs as possible.
Who designed your current office space?
Deborah Berke did the office about eight years ago. I chose her for her modern sensibility as well as her pragmatic approach to space design.
Do you approach your personal style in a similar way?
Generally I wear jeans and a white shirt. It's kind of a uniform. It's easier to not think about what I want to wear in the morning. I love Acne jeans and Brooks Brothers and Thom Browne shirts. A.P.C. is also always in my wardrobe.
When it comes to style, does your job influence what you wear?
You can't help but be aware of it, but I'd say that I'm more interested in function and street style then by fashion, per se.
Is there anyone you consider your mentor?
Not specifically, but all the photographers that I've had the great fortune of collaborating with I've learnt a ton from - especially how they see things and how they visually relate to things and how they find ways to create a solid-looking still. It's the forward-thinking individuals that always inspire me.
What are your work essentials?
Inspiration (people, film, art, design, music, dance, architecture), my work uniform (jeans, white Oxford, navy pullover and either Alden boots or sneakers), my 13" MacBook, my BlackBerry, my Filson duffle for packing and carry-on ease, and my four o'clock Red Bull.

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