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The idea of complex details within an overall simplistic aesthetic has always interested me. The smaller more intricate details that may not be visible until you look closely. Translated into fashion terms, what may strike you as a simple silhouette can contain complex seams, darts or pleating, the quiet details. My work has always been more about the manipulation of a material rather then surface embellishment, creating silent lines the give the garment a more subtle intricacy.

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​Decay, disintegration, antiquity are all words that I feel reflect what I am trying to capture within my more personal work , a reflection of the passing of time and the aging process that comes with that. But this decay has within it romance, I suppose a reflection of the romantic notion I personally hold about the past.  I like the idea of creating modern silhouettes that have an essence of the past. This essence is captured not only within the fabrics and colour-story but during my theme and sketchbook development as I am constantly drawn to themes relating to events of the past or historically based literature. This use of natural fabrics shaped into feminine silhouettes creates a contrast. It is a more subtle femininity. Within 'Letters to a Silent Girl' my most recent collection which takes inspiration from the character of Sibyl Vane in 'The Picture of Dorian Gray' ,I have begun to explore print.

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​I have always loved the idea of a piece of fabric that has within its weave a story to tell.  Decayed at the edges, worn away, ripped. A piece of lace, once so delicate and beautiful, now singed at the edges. There is a wonderful contrast in the morbid decay of something that was once so exquisite.

What began as a desire to dig out the past and breath new life into it, has developed into a genuine interest in sustainable fashion and the need to recycle and up cycle as much as possible, so be it out of romantic notions of the past or simply a conscious I see this as being a continued element of my work moving forward.