Eleven years
of looking

Fashion came later, and it came from the same instinct: I wanted to know what someone looked like when they stopped performing. A collection is easier to photograph once you understand the person wearing it, and a founder is easier to photograph once you stop asking them to fold their arms.

I trained the long way round — three years assisting before I took a single commission of my own — and it shaped how the studio runs. Sets start on time. Files arrive when I said they would. Nobody has to chase me for a licence.

The practice splits between London and Lagos, which means two casting pools, two sets of light, and a body of work that doesn't all look like it was made on the same grey afternoon.