Denim found me rather than the other way around.

My first assignment in the industry was handed to me almost by accident — a senior designer who thought the fabric was too stiff, not feminine enough, didn't want it. I did. I saw a blank canvas. Something you could manipulate, wash, construct, break down and rebuild. A material with more possibilities than almost anything else in fashion.

I came to denim through art. I studied fine art before fashion and flourished, my art teacher at the time actually got quite upset I was moving into fashion (sorry). For me, denim has always been the closest thing to working with a genuinely expressive medium — the wash, the surface, the finish, the way light hits an indigo after treatment. It is, at its best, beautiful.

Eighteen years later I'm still learning. That's the thing about denim — it never stops being complex, never stops challenging you, never lets you think you've figured it out completely. I love it for that.

I'm also, genuinely, a geek about it. I research obsessively, I want to understand the chemistry, the construction, the supplier, the process. That depth is what I bring to the brands I work with — not just an eye for what looks right, but an understanding of why it works and how to get there.