Mohammed Said is an Omani creative and visual director, fashion model, and part of Sard Visuals — a project you have definitely seen... everywhere.

Mohammed didn’t follow a straight path. He tried different formats, worked across industries, spent years learning the field from the inside, and eventually found his place in creative direction.

In this conversation, Mohammed talks about where it all started, how his parents shaped the way he sees the world, why fashion became part of his language, and why creative direction sits at the core of everything he does. He reflects on risk, silence, collaboration, and the people who influenced his journey — from close friends to long-term creative partners.

— Mohammed, let’s go back to the beginning since we know almost nothing about you. How did your creative journey start?

— I started in the creative field around 2014. I was filming, developing concepts, learning how the industry works. In Oman, the creative scene is quite small — not many people work in this field — so I tried everything I could.

Over the years, I worked across many formats: documentaries, music videos, fashion, food & beverage, high-production commercials, corporate and government projects. I wanted to understand the field fully before choosing my direction.

— Were your parents involved in creative industries?

— Yes, in a way. My mother used to design children’s clothing, and my father documented family life, making short documentaries and taking photos. Seeing their work when I was younger definitely influenced me.

My parents were also very fashionable at some point. They wore dresses, jewelry, accessories, sunglasses — things that really stood out. Especially considering that we are from an Islamic region, a conservative society. My parents were a bit different back then.

In our culture, most people go into aviation, oil & gas, engineering. I was kind of in between — expected to choose one of those paths. But I felt it wasn’t for me. I wanted my own voice, my own colour.

And the good thing was that my parents weren’t pushy at all. They never told me what to do. It was more like: do you, as long as it feels right, as long as you are not doing something wrong and not wasting your time. They always said: try things — just try something you believe you can actually go far with.

After years of trying different things, I finally made a decision. Around four years ago, I quit my job.

— Was it hard? And where did you work?

— It was a full-time job at a corporate production company. We were doing commercial work for banks, government, telecom brands — good experience, but not my vision.

I didn’t have big savings. I had a small amount, closed my loan, and told myself, "I’ll hustle." I was mentally ready for it. I live day by day — I don’t overthink the future. If something is meant to work, it will.

After I quit, people started reaching out more. I worked nonstop and switched jobs a lot. None of them really made sense together: different fields, different directions, all over the place.

— What was the most unexpected job you ever had?

— I acted! I acted in a theatre production at the Royal Opera House in Oman. It was a love story, set centuries ago. I loved acting when I was younger — trying different things helps you understand who you are.

— Fashion plays a big role in your work. Did it all start with your parents?

— Yes, I have loved fashion since I was young. I used to style my friends, my family — even for simple things like trips or daily outfits. Back then, information wasn’t easily available, so you learned by doing and observing.

Today, I can recognise fabrics and textures just by looking at an image. Fashion became part of how I express myself.

— So, you took your first steps by styling your friends and wearing clothes that stood out. What were you wearing back then, and how did people react?

— In Oman, I never went too extreme with fashion. I stayed within what people generally accepted in public. But when I travelled or went to events, I dressed much more boldly. Even in Oman, if I was invited somewhere, you could spot me in the middle of a thousand people — I was always the different one.

In this region, traditional clothing is very common, especially in public spaces. So you would usually see either a traditional dress or very conventional outfits — and then there was me. It was different.

At first, people reacted with curiosity. Sometimes my close friends or family would tease me, “Why are you dressed like this just to go out?” Even for something simple, like going to the grocery store, I would still dress up.

— What would you wear to the grocery store?

— I like layers, sneakers, sometimes jewelry, a watch — I have a thing for unusual watches. It is either very clean and formal or a bit weird. There is no middle ground.

People would look me up and down, wondering why I was dressed like that in that environment. But in the end, this way I’m presenting myself — not anyone else. And if I am presenting myself, I want to do it properly, in my own way.

— You once wrote: “I used to think I had to move loud to be noticed. Now I let silence speak for me.” Can you elaborate on that? Why did you write it?

— Most of my captions reflect how I feel at a specific moment in my life. That one came from a phase when I was doing a lot — working with many people, pushing things forward, especially here in Oman, and trying to take media and creative work to the next level.

Over time, I noticed that many people started doing things I had once talked about or initiated — and that is great. I genuinely love helping others grow and create something meaningful. But I also realised that I rarely focused on myself. I was always supporting others, rarely putting the spotlight on my own work.

That is where the quote came from. I started asking myself: Do I really need to be louder for people to notice me? Or can I just stay quiet and let the work speak for itself?

For the past three years, I have chosen the second option. I have been very quiet online. I didn’t post much; I didn’t show my face — I was working behind the scenes. I let the work speak for me. That is exactly what the quote means.

— Your Instagram bio says “creative director, visual director, fashion model.” If you had to rank them, what would you put first?

— I would say creative direction comes first.

I feel like I have strong concepts I can bring to life. But I also know that when it comes to execution, I don’t always have the clearest vision for every technical detail. That is why I prefer starting with creative direction and then working closely with a director who can translate that concept into visuals — through colour, framing, and overall mood — in a way that really fits the vibe.

Visual direction comes second. I enjoy it a lot, especially because I have my own visual language, particularly when it comes to colour. But many of my concepts don’t always get executed — sometimes because the right client or brand doesn’t come along to bring them fully to life.

I love challenging myself. I have worked on big sets with 50 or 60 people, where everyone has a specific role and department. And at some point, I started asking myself: If I want to create something really good, do I actually need that many people on set?

So I decided to try the opposite.

We shot a very high-production video with just four people. I was both the director and the model. We had a DP handling the camera, a photographer, and someone shooting behind-the-scenes.

That was it — four people.

— How would you describe your approach to creative direction?

— I would say… It is unique. I don’t believe anything comes from absolute scratch — everything has references. But instead of copying one reference, I combine many of them. Sometimes, 30 different references come together in one project.

I love challenging myself. I have worked on big sets with 50–60 people, but I also wanted to see what happens with a small team. One of my favourite projects was made with just four people — and it worked.

— You are also a model. But your look isn’t just “typically handsome” — there is something more to it. Why do brands come to you and ask you to model for them?

— I think it is because I have a combination that is quite rare in the GCC and the region in general. I have sharp Middle Eastern features, big eyes, and a hint of African influence. That mix isn’t very common.

And then there is my hair. People often ask if it is real or a wig. I am like, no, it is real. And they are always surprised.

— Do you have African roots?

— It is a long story. We are originally Omani. But around 200 or 300 years ago, Oman had strong trade ties with East Africa and parts of Asia. Many Omanis moved there for business and lived there for a long time.

They didn’t marry Africans — they married other Omanis who had also moved there — but over generations, because of the environment and history, you start to see that influence. Our family is quite mixed. My grandfather, for example, had three wives: one was half Omani, half Tanzanian; one was fully Omani; and one was fully Tanzanian.

So our family has a wide range of features — from very light to very dark. It is a mix.

— Your journey is incredible. Looking back, was there a turning point or people who helped you become who you are today?

— My parents, definitely. My siblings as well. And a few very close friends. One of the most important ones is Ahmed Newton.

Newton was really there for me. We haven’t known each other for that long, but our connection feels stronger than many relationships I have had for decades. We met at a Chndy’s wedding, and we clicked instantly.

We started working together, developing concepts, helping each other grow and figuring out our direction. He supports me, I support him. Newton is one of those people who truly made a difference.

And also, one of the most important parts of my journey is working with Mujahid Jamal (Sard Visuals).

I met him in 2018. That was during my early years of really exploring myself creatively — about three or four years into being in the field. Around the same time, Mujahid had just returned from the U.S., where he studied.

We met on a completely random boat trip. There were maybe 17 people on the boat, most of us didn’t know each other. Someone brought a friend, who brought another friend — it was that kind of situation. Mujahid and I started talking, asking each other questions. He was a photographer back then, and I was already working in the field. In a way, we started around the same time.

We shared knowledge, learned from each other, and started working together very naturally. Mujahid was always there for me. He was usually the face of the project, and I was more behind the scenes — executing, supporting, helping shape the visuals and making sure everything came together clearly.

My work with AMOUAGE played a huge role. Most of the projects I’m truly proud of came after this project. I worked on multiple campaigns for them, including a micro-documentary for a new fragrance. Because the creation process takes time, we documented it over an entire year, filming in different locations. That project means a lot to me.