This project explores how Mulberry Exchange can shift the perception of pre-loved luxury — from a functional resale service to an aspirational experience rooted in heritage and emotional storytelling. Circular fashion as a living journey, not a transaction.

The concept draws a parallel between heirloom tomatoes and Mulberry bags: both are cherished, nurtured, and passed down through generations, gaining richness and meaning with time. My own Italian heritage runs through the campaign — the heirloom tomato connects to my Nonna's kitchen table, her recipes, the objects that carry family memory. Roger Saul founded Mulberry at his own kitchen table in Somerset. That shared starting point became the symbolic heart of the work.

The campaign targets Gen Z — the most sustainability-conscious generation — and positions Mulberry Exchange not as a resale marketplace but as a movement. The still-life images were shot to deliberately evoke fruit and vegetable advertisements, making something familiar feel unexpected in the context of luxury fashion. Billboards. Instagram. A 30-second film. All built around one question: what's growing in your Mulberry?

Non-Conformist is a zine I created, edited, styled, photographed and wrote entirely myself — Issue No. 1. The concept was simple: a magazine for people who don't follow rules, dressed in the spirit of someone who wears Kin Vintage furs, Attico dresses and Prada shoes while reading "How to Kill Your Family" on a pink velvet chair. The aesthetic is maximalist, referential and personal.

The zine includes: an editorial shoot I styled and photographed myself at home in Johannesburg, mock brand ads using my own images (Gucci, Saint Laurent, Prada, Byredo), a "Buy the Look" fashion page pointing to real accessible pieces, a profile interview with classmate and photographer Gleb Petrov about moving from Russia to study at LCF, a London Fashion Week 2023 street report, beauty pages exploring alien-like beauty standards, a trend piece ("wear whatever the f**k you want"), an AI interview conducted as Frank Ocean, and a final editorial of cover-model images.

The whole thing came from wanting to make something that felt like me — not a student brief, but a real magazine. Playful, irreverent, fashion-literate and full of personality. Every page was designed, photographed and written by me.

Woven Garnet is a platform I co-founded with Gabriella, a fellow South African creative practitioner based between London and South Africa. Gabriella has a background in fine art and is completing a Master's in Curation; I am studying Fashion Styling and Production with an interest in fashion journalism. Between us we felt strongly that South African creatives were not getting the representation they deserve in the wider art and design world.

As two South Africans who understand firsthand how difficult it can be to reach local and international audiences from within South Africa, we wanted to build something that could help change that. Woven Garnet connects with emerging artists and designers through interviews, studio visits, and conversations around specific works — documenting what it is like to be a creative in South Africa, what matters to them, and what they feel needs to be heard.

The project takes place through a series of in-person interviews conducted in rented studio spaces and artists' own studios. We photograph and film each session to document the conversation and the person in their creative environment. Our longer-term vision includes curating group exhibitions — first in South Africa, then bringing select works to London — creating new pathways for South African artists to reach international audiences.

Madam Matriarch began as a study in the realities hidden behind the glamorous facade of mid-20th century domesticity. Drawing on 1960s sitcoms like Bewitched, old Hollywood glamour, and the male gaze theory, I created a fashion film that uses satire to critique the power imbalances placed on women in the 1950s and 60s — and the ways those imbalances persist today.

The film follows a housewife who cleans her living room in full glamour — sequin dress, heels, yellow rubber gloves — while a patronising narrator (voiced by an AI American game show host) barks instructions drawn directly from a real 1950s home economics textbook. When she finally snaps, she transforms into Madam Matriarchy: a feminist superhero who takes down the narrator and reclaims her own life.

Colour was used as deliberate symbolism throughout — the housewife wears deep red to signal both her passion and her coming rage, while Madam Matriarchy emerges in white to represent rebirth. The yellow rubber gloves became a recurring motif: domestic submission made visible. I shot on location in my own home, whose mid-century modern furniture grounded the 1960s aesthetic, and edited with hand-drawn Procreate animations layered over the footage to give it a kitsch, comic-book energy.

This editorial began with a question: what did Gucci once stand for, and how can that be brought back? I was drawn to Tom Ford's era at the brand — the sleek, sexy, sophisticated business chic of the 1990s — and wanted to reinterpret it through the lens of androgyny and equality. My vision was a world where there are no barriers between femininity and masculinity in dress. Sharp tailoring. Power suits. Women as CEOs. Men in skirts.

The concept is rooted in the vintage office scenes of classic films — Pulp Fiction, Kill Bill, Casablanca — and in my own personal history. I took a lot of inspiration from my parents, specifically from my father and his cigarette factory, where I shot the first round of images. He collects retro furniture and mid-century modern pieces, so his office and his world already carried the aesthetic I was looking for. I also looked at old cars, vintage ash trays and contemporary art as primary research to find objects that captured class and retro business.

The messaging is about reclaiming spaces. Taking back the past of offices where white men were in control and making those spaces accessible to anyone — any gender, sexuality, race. The final outcome was conceived as a Gucci coffee table book, combining editorial images, product images, campaigns and photography, something available to look at in Casa Gucci stores.

This was a collaborative editorial project with five other LCF students, created for a feminist magazine inspired by Nova — the progressive British women's magazine of the late 1960s and 70s. Our group chose to explore female rage as a spectrum, with each stylist representing a different intensity. I was assigned hard rage.

To explore hard rage I drew on the Riot Grrrl movement and feminist punk artists of the 1990s — specifically Bikini Kill, whose fearless, confrontational approach to dress and performance countered every societal expectation placed on women. I built three looks, each addressing a specific form of hard rage: unrealistic body expectations (bandages and a steel corset referencing plastic surgery culture), slut-shaming and reclaiming slut (referencing Bikini Kill's graphic tees and plaid), and objectification (a babydoll dress, puppet strings and a doll prop, inspired by Courtney Love).

My model pulled out before the shoot, so I styled and modelled all three looks myself across an eight-hour shoot day — directing, dressing, and performing simultaneously. The red lighting for the slut-shaming look was decided in test shoots; the fisheye lens for the objectification look came from experimentation on the day. The editorial was shot by Natalie Chia and Ishita Mishra, with make up and hair by Mariella Manning.

South African creative practitioner and emerging fashion communicator completing a BA (Hons) in Fashion Styling and Production at London College of Fashion. My work combines fashion, writing and visual storytelling to explore identity, heritage and gender, with a focus on fashion as a cultural narrative and form of self-expression.