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Um coletivo de artistas que doam talento, através de estampas, para transformar auto-estimas de lindas guerreiras que estão em tratamento do câncer.

O projeto Estampa Sorrisos é um coletivo de artistas que doam tempo e talento para transformar a autoestima é o segredo para um tratamento quimioterápico bem sucedido, sem sofrimento, sem pena de si mesmo, sem perder a feminilidade, o bom humor e a vaidade, sendo assim um meio para conscientizar e prevenir sobre a doença.

07/10/2026

FANDOM / 010 — BLUE LOCK

The obvious story about Blue Lock is crossover.

Football becomes manga.
Manga becomes anime.
Anime finds football fans.

But the more interesting movement goes both ways.

Blue Lock borrowed from a real cultural system:

Competition.
Selection.
Ambition.
Individual brilliance.
The tension between the player and the team.

Then it reorganized those tensions into a fictional world with its own language, characters and logic.

And eventually, football began borrowing back.

The J.League connected Blue Lock characters with all 20 J1 clubs during its 2024 collaboration.

Then, in 2026, the Japan Football Association went further.

It launched FUTURE CAMP inspired by BLUE LOCK, a real international talent-identification initiative for young players based outside Japan, with the first camp held in California.

That does not mean fiction replaced football culture.

It means the IP had become culturally legible enough for football institutions to use its meaning.

That is more interesting than a collab.

Because strong Cultural IP is not only portable across media.

Its meaning can become portable across worlds.

A collab puts two cultures next to each other.
A strong crossover makes each one more useful to the other.

So ask:

What can another culture make easier to see, feel or do inside yours?

FANDOM / 010
BY BRABA

07/10/2026

The easy story about Fortnite is collaboration.

Marvel.
Star Wars.
Music.
Anime.
Movies.
Fashion.

Another cultural property enters the game.

But that description misses what Fortnite has increasingly become good at.

Turning culture into something people can do something with.

A character can change what you wear.

An item can change how you play.

A world can change where you go.

And licensed IP can now become material creators use to build entirely new experiences.

In 2026, Epic opened official Star Wars tools to Fortnite developers, including characters, vehicles, weapons, environments and gameplay systems that creators could use inside their own islands.

The same logic exists with properties such as KPop Demon Hunters, where eligible creators can build, publish and monetize experiences using licensed assets under defined rights and revenue-sharing rules.

That changes the collaboration.

The IP is no longer only distributed to the audience.

It can become a controlled creative system people build with.

Not unrestricted ownership.

Tools.
Rules.
Permission.
Publishing.
Economics.

A collab puts something in the world.
A system lets people do something with it.

So the more useful question for brands is not:

How do we appear inside culture?

It is:

What could people do with our world if we gave them more than permission to look at it?

FANDOM / 016
BY BRABA

06/10/2026

FANDOM / 002 — EMILLY VICK

The obvious story about Emilly Vick is scale.

Two consecutive years at the top of YouTube Brazil’s creator ranking make that part difficult to miss.

But scale isn’t the most useful thing for brands to study.

The more interesting system sits around the creator.

A recurring cast. Familiar relationships. Challenges that become episodes. Stories that continue. An audience that doesn’t have to learn the world again every time a new video begins.

YouTube describes this generation of Brazilian creators as independent media ecosystems, built around gamified everyday life, recurring casts and shared universes.

That changes the creator question.

When a creator has built a world people already understand, buying a face for a single piece of distribution may capture the least interesting part of the value.

The better question is:

What are people returning to, besides the content itself?

Because continuity is not repetition.

And if every piece starts from zero, you’re not building a world.

FANDOM / 002
BY BRABA

05/10/2026

FANDOM / 001 — ROBLOX

1 trillion views is impressive.

But scale isn’t the interesting part.

Roblox shows what happens when the distance between audience and creator starts to collapse.

People don’t just watch the world.
They play inside it. Build inside it. Create for it. Share through it. And sometimes earn from it.

That changes the creator question too.

A creator isn’t automatically a distribution channel.

They can be a builder, teacher, host, connector or co-author of the system people return to.

So the useful question for brands isn’t:

How do we reach this audience?

It’s:

What can people do here that is worth coming back to?

FANDOM / 001
BY BRABA

Evidence: YouTube Culture & Trends, Roblox Corporation.

Roblox

Participation BrandStrategy

04/10/2026

Most campaigns rent culture.

A track comes in, gives the film emotion, does its job, and leaves when the campaign does.

Nothing wrong with that.

But with Evan Dorléac, we wanted to test a different structure.

One song became nine.

Not nine versions of the same campaign idea.

A repertoire.

And that changes the question.

A soundtrack is built to serve a piece of work.

A catalog can begin creating continuity around it.

More release surfaces.
More future uses.
More recognition.
More chances for meaning to accumulate.

Not automatically.

A catalog does not become valuable because it exists.

It becomes interesting because it creates a structure where value can keep building.

That is the distinction.

Content gets used.
Property can keep compounding.

The better question, then, is not:

What else should this campaign produce?

It is:

What could this work start building that still makes sense after the campaign is over?

That was the experiment behind Evan Dorléac.

One track became nine.

A soundtrack became repertoire.

And the work started leaving something behind.

BRABA. Built around the work.

03/10/2026

Your child may know Dude Perfect better than you do.

That’s a useful place to start.

Not because of the follower count.
Because familiarity makes the strategic move easier to see.

In June 2026, State Farm announced a partnership spanning Overtime and the Impossible Soccer Wall.

The interesting part wasn’t the sponsorship.

It was the invitation.

A format fans already understood became something they could actually enter:

Take the shot.
Get a score.
See where you stand.

The brand didn’t need to become the entertainment.

It helped people enter it.

That changes the role of the creator partnership.

From creator as distribution
to creator as a world people can participate in.

And that is where fandom starts becoming useful to brands.

Before you write the creator’s script, design the fan’s role.

What can they try, make, join or contribute?

If the only answer is “watch”, you are still buying an audience.

BY BRABA

Dude Perfect
State Farm
Overtime

BrandPartnerships FanEngagement ParticipationDesign ExperientialMarketing FromAudienceToFandom

02/10/2026

A fandom doesn’t begin with an audience. It begins when people have something worth doing together.
The Earth turned Minecraft into a shared construction system. People across countries coordinate, research, compare references and rebuild the planet at 1:1 scale. The platform provides the world. The community provides the knowledge, labor, identity and reason to return.

That distinction matters for brands. Most brands still ask communities to watch, react and share. A more interesting question is: What can people actually build together? Because participation is not always what happens after the idea. Sometimes, participation is the idea.

Featuring Build The Earth

Created by Pippen

Built inside Minecraft.

FANDOM / 001. BY BRABA.

Community

01/10/2026

A virtual model is easy to generate.

A recurring character is harder to build.

For La Beautanique, Sophie Duschamps began as a model character. The more useful opportunity was to turn her into something that could survive beyond a single image, product or campaign.

A face can repeat without building memory.

So the question changed.

Not:

Is she beautiful?

But:

Is this still Sophie?

That meant locking what could not drift. Face. Age. Hair. Skin logic. Behavior.

And allowing everything else to move. Light. Place. Wardrobe. Story. Product. Context.

The goal was never to repeat the image.

It was to preserve the person while the world around her changed.

That is where a model starts becoming a character.

And where a character starts becoming memory.

Don’t build a face.
Build a reason for the face to return.

BRABA / La Beautanique
Character System

30/09/2026

Visibility is the easiest role a creator can sell.

It is also the easiest role a brand can waste.

Google’s partnership with Beast Industries is interesting for a reason that has little to do with MrBeast’s size. Everyone already knows he is big.

The useful part is what Gemini was asked to do.

In the first activation, teams moved through the jungle, desert and Arctic using Gemini to identify dangers, respond to brutal weather changes and make decisions inside the challenge.

The product did not arrive after the entertainment had done its job.

It participated in the entertainment.

That distinction matters.

MrBeast owns more than reach. He owns a recognisable grammar: an impossible premise, clear rules, rising stakes and visible consequences.

His audience already knows how that world works.

Google gave its product a role that this format could make useful.

This is what creator strategy often misses.

The question is not only which creator can carry the message. It is whether the creator has a format, ritual or world where the product can do something the audience already cares about.

If the product could be replaced by any other logo and the content would remain identical, that is not much of a partnership.

It is rented visibility.

The next creator brief should not ask where the product appears.

It should ask what the product does.

SOURCE / GOOGLE / 02 SEP 2026

POWER PARTNERSHIPS / BY BRABA

28/09/2026

A follower count can tell you who watches.
It can’t tell you who makes the next action possible.

Gabriel & Shirley built their audience on YouTube.

But when that universe moves into a ticketed live experience, something else becomes visible.

The child may be the viewer.

The trip, the ticket, the permission, the schedule and the decision to participate can belong to other people entirely.

That is why family creators expose a blind spot in the traditional creator brief.

We usually ask:

Who watches?

The more useful question can be:

Who enables the next action?

Because the audience around a creator is not always one person making one decision.

Sometimes it is a household coordinating attention, money, permission and participation around the same cultural object.

The viewer is a person.
The audience can be a household.

Swipe through the case.

CREATOR ROLES / BY BRABA

Address

VIA SALARIA 174/14A

00198

Website

http://www.braba.works/

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