Working for Ralph & Russo I designed the set and layout for Ralph and Russo’s SS/19 show. The show was part of Paris Haute Couture Fashion Week within the location Hotel de Charost – The British ambassador’s residence in Paris. The collection is inspired by 1930’s Art Deco. Art Deco is all about geometry and proportion. I wanted to create a rectilinear runway that responded to the proportions of the building and the grounds of Hotel de Charost. An elegant runway in matte white runs through the middle of the surroundings.

Working for Ralph & Russo I created the design for the set and layout for the S/S 19 show. The show was part of Paris Haute Couture Fashion Week within the location of La Carreau du Temple. The collection was inspired by the life of Maria Felix a Mexican film star and style icon. I was inspired by the visual language of classic film sets such as Singing in the Rain and What a Way to Go. We wanted to create a glamorous setting for the show using key props that hint towards Mexicana and old Hollywood. The houses signage colours of light cool grey and rose gold were utilised throughout the space to create something that was recognisably on brand. The key piece was a sign that boldly illuminated and changed settings during different points of the show. Stylised rose gold palm trees punctuated the design.

I created a pop-up space within Harvey Nichols for Axel Arigato. The design is Inspired by minimalist sculpture. From a central point in the space everything radiates outwards. Unexpected materials used in an inventive way to cover up the existing walls. Using the core brand blue the space is unified.

Using Christopher Bailey’s directive of white chairs to form the basis to create the global festive windows for Burberry. We created haphazard compositions that become sculptural pieces within themselves. We Introduced an element of whimsy by creating configurations that seemingly defy gravity. Using a supreme high-gloss we elevated the chairs befitting of the brand. Precariously balanced chairs seat mannequins to create a sense of magic and playfulness.

I designed a pop-up store in Copenhagen for Axel Arigato. Using elemental minimal forms that became the display ideas. Set installations statically placed to create intrigue. Juxtaposing materials in the brands signage blue. A giant blow-up sphere became the window display. Stacked stair plinths became shoe displays. Unusual materials such as foam was deployed and utilised as plinths.

Creating the setting for the launch party celebrating the arrival of RuPaul’s drag race to the UK. The event was a reinterpretation of the show to find a UK Drag Ambassador. I created a stage that stayed true to the shows outrageous sense of fun and double entendre. The event was produced by Produce UK.

Working at Burberry I worked on the designs of the S/S 18 collection windows. Influenced by Old Sessions House, the location of the show and exhibition space. We were inspired by the renovation works being carried out - these created interesting juxtapositions of scaffolding in classical rooms with chandeliers. We created abstract asymmetrical compositions in scaffold and juxtaposed with chandeliers. The windows designs were adapted to different sizes so they can be rolled out to over 350 windows globally.

For the inaugural seasonal ‘New Beginning’ at Dover Street Market New York, I collaborated with the Phoebe English Studio to re-imagine the store’s ground floor event area. Displaying select pieces from the Phoebe English A/W14 collection, the installation explores themes of chaos and control, gravity and temporality.

Working for Michael Howells and Lady Amanda Harlech, collaborating with Eamonn Huges and Piers Atkinson, I oversaw the creation of six nest installations. The brainchild of Green Carpet Challenge Founder Livia Firth, BFC Chair Natalie Massenet and Vogue Editor Anna Wintour, the event was to raise awareness of The Global Fund. The event was produced by INCA.

Working for Ralph & Russo I designed the augural windows for the Doha boutique. Inspired by unexpected things coming together.  We wanted the windows to be modern and fresh.  The bulbs reference make-up mirrors used in the entertainment business – this adds an element of intrigue and surprise. The form of the frames was derived from the brands signature pattern.

Creating a site specific set within the Pulse club London, responding to their collection by playfully reinterpreting materials. I reacted to the existing location by designing a series of four caged runways. As well as the set design and implementation, I also oversaw the lighting and seating, this helped to create a cohesive look for the entire show.

I designed the set for the V&A’s Fashion in Motion event featuring a retrospective of the work of designer Phoebe English. In the tradition of Haute Couture Phoebe wanted to display her work in miniature. This was achieved by using marionettes wearing creations from the womenswear archive, strung up next to models who operated their replicas. We created a linear composition of seven circular stages that filled The Raphael Gallery. The garments were displayed retrospectively. I designed sculptural metal structures onto which the marionettes were suspended.

Set design for Phoebe English’s A/W16 presentation within the theatre space at the ICA. The idea was to create a dystopian setting within the context of a waiting room. The show becomes a self-perpetuating circle. The models collected a numbered ticket from a dispenser and were beckoned once their number appeared on screen to be photographed then the process would repeat. The monochrome pallet was deliberately somber. I designed a towering clock than loomed over the models.

In celebration of Dover Street Market’s 10th anniversary, Phoebe English Studio and I collaborated to create a window display exploring the theme of “The next 10 years”. Inspired by the Phoebe English SS/15 collection we rendered the ship in textile from that session. The ship is in perpetual motion – travelling on a reflective sea.

Inspired by constructivism and modernist composition. I created these structures to frame the models to highlight form.

Photography: Katja Mayer
Fashion editor: Kim Howells
Casting: Nikki Sheldon at Scout Cast Produce
Hair: Nicole Kahlani at The Book Agency
Make-up and nails: Yin Lee at ERA
Models: Eva Miere at Ugly Models, Jada at Models 1, Leila and Natasha at Profile, Katrina at Sapphires, Amy at Anti-Agency, Nyamka at Hughes Models, Anna at Milk
Photographic assistants: Claudia Legge  Francesca La Porta
Fashion assistants: Megan Mandeville and Louise Mae  Chelsey Clarke,
Set design assistants: Alice Edwards  Sam Edkins
Make-up assistant: Lorin Mamo 

I designed the set for KTZ S/S16 Women’s collection. I created a futuristic set using a maze of red barriers and variable message signs displaying the slogan “THE WORLD TO COME”. 

Set design for Phoebe English’s inaugural menswear presentation held at the British Fashion Council’s presentation space at 180 The Strand. The male models embroidered during the presentation, with which Phoebe wanted to challenge ideas of masculinity. The backdrop panels were inspired by the forms of embroidery stretcher frames. 

I designed a pop- up showroom for KTZ in shanghai. Responding to the Eskimo references of the A/W 15 collection I created a space from abstracted forms of broken ice. 

I created a series of blow up installations and interventions for a party at London Collections: Men for Vanity Fair and fashion brand Limoland, hosted at Anderson and Sheppard’s haberdashery. The event was produced by Blonstein and Associates.

Set design for collection based on seven characters performing seven actions which are seven experiences across seven days. The presentation was within the Nash rooms at the ICA. These characters are not specific to single event but are metaphors for the feeling of things being done to you that are out of your control. Each character created a set with a strong narrative; paper planes for the Lying Smuggler, tangles of knotted calico for the Waiting Strangler. When the viewer entered the room the models were standing with their backs to you in a row, which was deliberately unsettling. 

I created set pieces that respond to Phoebe English’s concept for her Autumn/Winter collection. The idea of the smashed plaster plinths was derived from imagery of landslides on chalk cliffs. The presentation used multi-media and incorporated a film in 360 degrees, which mirrored what was happening within the presentation.

I implemented and designed a pop-up restaurant for Pierre Koffmann on the rooftop of Selfridges working with the Selfridges creative team. We wanted to give the rooftop a renaissance and rediscover the lost space. The visitor experience was slightly surreal with added elements of fantasy. We commissioned bespoke pieces to fill the space from a number of creative contributors to reflect the theme.

The photoshoot was loosely based on fairytales – the narrative formed a catalyst for an attribute such as a material, prop or colour. 

Photography: Trisha Ward
Fashion Editor: Kim Howells
Menswear Fashion Editor: Stevie Westgarth
Casting Director: Nick Forbes-Watson
Hair: Lisa Eastwood at Premier Hair & Make-up
Make-up: Yin Lee
Models: Arran and Maurits Duran at Select ; Donata at The Squad; Jonny at Established; Leah Rodl at Next: Nur Hellman at Viva
Photographic assistant: John Cronic
Fashion assistants: Chantal Des Vignes and Holly Chapman
Menswear Fashion assistants  Noa Zafarti, Alice Bevis and Sarah Stanbury
Hair assistants Sharon Robinson
Make-up assistant Lillie Lindh
Set design assistant: Thomas McCarron-Shipman
Concept: Vicky Lawton
Concept development: Ursula Underhill

I designed a number of set ups and props responding either to the garment or a specific scenario. Each of the elements were slightly surreal playing with scale and quantities.

Photography: Trisha Ward:
Fashion editor: Siobhan Lyons at Serlin Associates
Hair: Panos Papandrianos at CLM
Make-Up: Clare Read at Caren 
Nails: Ami Streets at LMC Worldwide
Fashion assistant: Charlie Ghesquiere
Hair assistant: Naomi Regan
Make-up assistant: Emily Bilverstone
Set design assistants: Lucy Gorman and Rebekah Lidwell 

I designed the windows for Browns in South Molton Street and Sloane Street during the Easter period. Playing with the word ‘Spring’, the foundation of the design is Chintz made slightly surreal by manipulating scale and enlarging elements of a floral pattern.The delicate flowers have been cut-out and mounted onto industrial springs, thus creating a juxtaposition. 

I was asked by Produce to create the sets for a two day Victorian festival - King’s Cross Journeys. This was over a huge site within which we created specific performance areas for Gideon Reeling. I immersed modern day King’s Cross into the Victorian era as we see it today, through history books and old photographs. 

I designed a series of installations for a new collection launched by Dr. Martens. The label collaborated with other key brands that were synonymous with the birth of the skinhead movement. The sets were used to showcase the product for a global launch event. Working for Jag Hunjan and Exposure PR.

I designed areas of the BFC NEWGEN space, sponsored by Topshop, at Somerset House during London Fashion Week produced by Blonstein. The catalyst for the design process was the notion of a sketchbook, a place for ideas.

Inspired by Brutalist architecture and its interplay with shards of light. We created site-specific set pieces that would relate to the existing architecture of the store. The presentation was produced by Bacchus.

Working with Jag Hunjan Production Services and Exposure PR we created a window display in Fenwick on Bond Street during London Fashion week to showcase the collection of Barbour x Christopher Raeburn.  The scheme was inspired by industrial/ military aesthetic.

I designed areas of the BFC NEWGEN space, sponsored by Topshop, at Somerset House during London Fashion Week produced by Blonstein. The designers were asked to produce artwork for a tote bag workshop. The design for the space was based on strong geometric shapes. The shapes created window frames of the designers’ artwork.

Working for both Blonstein and Exposure to design the exhibition of the reinvigoration of Minnie Mouse as a muse: “Minnie Muse”. A number of leading fashion designers were asked to create pieces inspired by the legendary character. Taking the iconic element of Minnie Mouse’s polka dot dress fabric and using that to create bold statement display plinths.