What brought you to CSM to study FCP?
I wanted to be a stylist, and felt that London was the right place. I’m from Canada, and there are not a lot of opportunities there. They do a lot of commercial styling for TV shows, commercials and adverts for things like cars or supermarkets. I wanted to come to CSM to really push my styling and creativity, and I was interested in all forms of promotion.
How did your work begin moving away from FCP?
I feel like not being able to fit in with the culture of my course motivated me to find a creative space that could accept me. My course pushes photography a lot, but I don’t think I really have the eye for it. I’m usually too focused on the content or fashion in the image to feel uncomfortable when I see photos with bad composition. It’s something I try to work on, but I don’t see photography as something I want to do for the rest of my life. A lot of my classmates make work in a documentation photography style, capturing young people in a sort of easy unproduced way. But the work I’m more interested in are some of the things produced when Nicola Formichetti was at Dazed or when Meadham Kirchhoff was at their height — when everyone was dressing really colourful and wild.
I think people in my class see me as being ‘too much’, so I thought I’d start doing my own thing. I started doing set design and I’ve always made jewellery in my own time. It’s getting a lot better now, but I always felt that there was too much quiet jewellery in the universe. The philosophy is if you are going to adorn your body, you should go all out, make it a party, have some fun. The rest of my work just grew from there.