I designed the show space design and set for the Nina Ricci AW25 collection by Harris Reed. The collection storyline of ‘up all night – out all day’ with overarching references of Helmut Newton X Nina Ricci X Paris, was the central narrative behind the space and the catalyst for the design. As part of this concept we wanted to play with exaggerated proportions, experimenting with shadow and silhouettes to achieve this. The thin profiles within the design are used in dramatic effect to echo the long shadows used in film noir Hitchcock movies. Likewise, heritage lampposts directly reference the Parisian Street photography of Helmut Newton. We created a strong contrast blacked out world juxtaposed with the quintessentially Parisian setting of Hôtel Salomon de Rothschild. Classical proportions were stylised to become abstract architectural colonnades. As each look was revealed through these windows and doorways, it created framed content opportunities. In a finale cinematic ensemble moment, the models were choreographed to come together and sit at the tables. Strung along throughout the space, these playfully unexpected tables added to the surreal proportions with oversized table lamps. The glimmering floor was made of aluminium silicate - a fine gravel that has an iridescence, reminiscent of night-lit Parisian Park paths. The show was produced by FAMILY. 

To create window designs for Carhartt WIP within Selfridges iconic windows 10 & 11 either side of the main entrance on London’s Oxford Street. Celebrating the content created by Joshua Gordon using windows 10 & 11 in Selfridges as a space to amplify the creative and seasonal product. Displaying the video content in an engaging and unexpected way. Using a modular approach, the screen components became fractured pixels. The artwork fragmented in space, displaying the bespoke content edited by the Carhartt team in Berlin. The window’s modular system is based on each screen unit - creating a dynamic chequerboard of 500 x 500 mm squares. The screens were housed within colour tinted transparent cuboids to expose the electronics and the backdrop, floor and some of the facias were brushed aluminium for an industrial aesthetic referencing the brands heritage.

I collaborated with the artist Rory Beard who makes kinetic art pieces using ready-made objects. I felt this would create a dynamic set for the products. The art series is called ‘Dream of Meritocracy’ and ‘Upward Mobility’, it’s critiquing and humouring the idea in business of ‘climbing the ladder’, paralleling it with success in the art world. This ties in with Vivienne Westwood’s anti-establishment beginnings, and it adds humour to the display, using a functional, over-the-top tool to display the Iconic Mini Yasmine bag. The setting was in a green environment, references green screens and photoshoot set-ups. The logo is in the heritage Vivienne Westwood yellow.


I worked on the layout design for the Andreas Kronthaler for Vivienne Westwood SS24 show. Collaborating with art director Christoph Dobringer and the in-house team on the design which was overseen with the creative direction of Andreas Kronthaler. Utilising the space to accommodate the maximum amount of guests whilst creating a dynamic route for the models was key. The runway shape grew organically from the layout of existing architecture, deliberately working with its unaesthetic appeal. Andreas drew random numbers from a hat to form the foundation of the archival collection, the runway itself became a mobius eight loop. Produced by CEBE.

The brief was to design exterior Christmas installations for the entire Ivy Collection group across 41 sites. The concept evolved from the idea of indulgence at Christmas into a golden feast, featuring exotic and extravagance in scale and content. Collaborating closely with Stephanie Williams and Ana-Maria Pasecue-Steward we worked on exuberant displays to celebrate the visual abundance of the brand.

Collaborating with the Chloé in-house creative team to realise Gabriella Hearst’s architectural vision. Concentrating on sustainability and investing in a scheme with a long lifespan. The house of Chloé becomes a home from home for clients. The stores focused on artisan talent, embellishing the interior spaces with comfortable and beautiful pieces. A mixture of carefully sourced and commissioned fixtures were selected by Gabriela Hearst. The pieces give the spaces individuality and personality which creates a curated House style. We worked with collaborators such as Rachael South to create a bespoke cane wave. Otis Ingrams for his leather furniture. For ceramics we approached Matthew Raw and Viv Lee.

‘More Will Be No More’ is born of a workshopped collaboration with Revere the Residence, a social enterprise working with Neurodivergent designers and artists - in their words, ‘not for pity or praise but to level up the field’.

Intentionally open for interpretation, ‘More Will Be No More’ is ambiguous. Anti capitalist? Anti consumerist? A counterpoint to Christmas excess? Apocalyptic or suggestive of something else? The contextualisation is almost irrelevant. I chose a monochromatic palette to echo a black and white thinking and in a bold move obscured the product by covering almost the entire window in the slogan, which was embroidered onto ramie. At night lighting turns the fabric translucent and the slogan became a silhouette.

Working with Serpentine Studios for Givenchy on a two phased global scheme, celebrating a decade of the Antigona bag. The scheme needed to hero both the Antigona and Antogona Soft. Playing with the distinctive and juxtaposing soft/hard traits of the bags, we took this into the materiality and form of the scheme. The idea was to create spaces and areas crafted from unexpected material combinations. These would highlight and complement the intrinsic differences of the two iterations of the bag. Elegant curves juxtaposed with solid shapes create interesting and eye-catching moments throughout the customers' journey. Soft forms suspended in space manifest themselves in abstracted illusions of the bags.

I worked with the Chloé creative team to create the global scheme for windows and pop-ups for the SS21 collection. We were inspired by the originality of the format of the show and how the layered content onto screens created a poetic effect. The idea is that the space evolves throughout the season – each story brings change. The content becomes the architecture/landscape. The blocks are inspired by the strong architectural presence of Palais de Tokyo - these were deployed for the collection display. These modular elements were set in front of the adaptable screen backdrop.

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.

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.

Whilst working for Broadwick Studio we were tasked to design seven spaces in all of the global Dover Street Market locations for the launch of the Adidas Originals x Craig Green collaboration. The installations needed to showcase and hero the six colourways of the trainer and the hanging sculptures created by David Curtis-Ring. The idea was to create minimal but elegant bespoke systems dependant of the spatial parameters of the individual locations. Produced by Broadwick Studio and each installation was constructed by Millington Associates.

The brief was to design a launch party / press event for the adidas superstar trainer. This was to be a celebration of the product and the launch screening of a campaign film by Johan Hill. The overall aesthetic was based film scenic. We use as a mix contemporary / nostalgic look and feel. Based on the toolkit palette we proposed to create areas of block colour. We used ready-made objects with humour in unexpected ways. Referring back to the aesthetic of the film - we played with the idea of backstage being seen. We created site-specific display installations based on what is found in the venue. We reinvented these objects in a modern and playful way - bolstering the pillar of art. As the event unfolded - later in the evening the stage curtains unreal to reveal the prom/disco a party to celebrate the talent of the class of 2020. The finale was a massive balloon drop.

I designed the set for Ralph & Russo’s Ready to Wear collection in the location of Centorial - The Rotunda Paris. The collection was inspired by Miami. Strong geometric forms reference the Deco shapes of the iconic Miami architecture. Palm trees were introduced to the design to bolster the idea of the outdoors in a warmer climate. The collection used lots of soft pastel tones. We wanted to use a single bloc colour that would tie all the looks together and create a bold setting for the collection. The show was produced by EYESIGHT GROUP in Paris.

Image credit: EYESIGHT / Mathias Wendzinski / @eyesightgroup

I designed the set for the Ralph and Russo couture show in Le Carreau du Temple in Paris. The set needed to hero and celebrate the 10-year heritage of the house. The idea for the design was to incorporate both a show and presentation format. The podiums in the centre of the space become slowly inhabited by the looks as the show unfolded. The models become statues dressed in couture. The set was pure white to showcase the collection to its fullest – creating a gallery setting to elevate the looks. The show was produced by EYESIGHT GROUP in Paris

Image credit: EYESIGHT / Mathias Wendzinski / @eyesightgroup

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.

Inspired by the work of John Lautner and his use of bold geometric form we intersected the Vivienne Westwood interior concept within the existing architecture, tailoring it specifically Harrods. Harnessing the brand material palette, we reinterpreted it for use in this space. Key features included a holographic orb for a bold brand presence. We commissioned bespoke furniture pieces to champion designers who recycle materials in rebellious ways including an armchair by Piet Hein.

For the collaboration new logos were created combining the signature Palace language with the iconic Vivienne Westwood orb. Arguably the most element is the branding - it is what the brand fans are buying into. To mirror the denim in the collection, I developed a branded environment using a hybrid logomania repeat surface. The simple design was developed to allow the product to shine.

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.

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.

Whilst working for My Beautiful City I worked on the catwalk spatial design for an empty retail unit in King’s Cross. I determined the catwalk route and the stairs, the layout and composition determined within the parameters of space and audience number.

The brief whilst working at Harlequin Design was to create props that worked across their flagship stores and all other tiers. With this in mind, the staircase was designed to be a modular unit. I devised an optimum size using collected dimensions from all the vitrines.

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.

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 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.

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.

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”. 

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 

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. 

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.

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.

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 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. 

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.

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 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.

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.

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.

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.