My background is in editorial design—I came up through the art department at ELLE magazine, then became Brand Art Director at RUSSH, before Rohan and I founded Badlands Studio almost ten years ago. This September marks a decade, which still feels pretty incredible to say.

No two days are quite the same, which I love. Most mornings start with coffee and emails at my desk, then I’m deep in design mode, in client meetings, or on set.

If there’s a lesson this career has taught me, it’s to back yourself. It sounds simple in theory, but I’ve often found it harder in practice—the things I’m most proud of have almost always come from deciding to try anyway. The path rarely looks the way you planned, but that can be a good thing. Right now I’m thinking about weaving more travel back into my work—Salone del Mobile in Milan and the 3 Days of Design festival in Copenhagen are both on the bucket list—and I’d love to write a book someday.

Minimal, with a deep appreciation for quality basics and a focus on the essentials, though I love to get creative with texture and accessories—lately I’m drawn to smaller details that elevate a simple outfit, like a considered collar or the right belt. That quiet restraint has always been at the core of my style, even as it’s become more intentional over time.

It depends on the day. If there’s an event or shoot coming up, I’ll plan ahead; for everyday life it’s mostly grab-and-go—practical enough for school drop-off, put-together enough for a Zoom, comfortable enough to get through the day.

The piece I reach for most, though, isn’t really about style at all: my mother’s Cartier watch, passed along to me last year now that she’s no longer able to wear it. Time can be cruel that way, but the watch is a reminder of her love, her glamour, and all the memories we share.

So many people, right now: French typographer Margot Lévêque, Louise Trotter at Bottega Veneta, Matthieu Blazy at Chanel, and Celine Song, whose film Past Lives I still think about often. Then there’s the pull of the past—’90s style moments, Elsa Peretti’s ’70s sensibility, and American Modernism and Abstract Expressionism, from Agnes Martin and Rothko to Georgia O’Keeffe and Cy Twombly.

Time with my husband and girls, always. In summer that means a day at the beach; in winter, a cosy morning at home making waffles, then a bike ride or time at the park. Most of my hobbies lean back into the design and creative space too—reading, playing tennis, and trips to art galleries fill out the rest.

Mornings, at this stage of life, are beautifully unpredictable—if I can mix some collagen into my coffee and manage a healthy breakfast, I’m calling it a win, chaos and all. Evenings are more within my control: once the girls are asleep, I catch up on emails, reset the house, and make myself a magnesium hot chocolate, my window for reading and winding down.

The hobby I keep meaning to pick up is ceramics. I did a workshop on a work trip to Singapore last year and found it completely restorative—there’s something about working with your hands that quiets everything else. My eldest daughter is starting ceramics this term, so for now I’m living vicariously through her.

I need an organised bag, because I have to be. I keep a little pouch of essentials that travels between bags depending on the day, plus the mum kit running alongside it—and snacks, always snacks, non-negotiable. Beyond that: sunglasses, phone, wallet, keys, lip balm for me, and tissues, wet wipes, bandaids, sanitiser and a spare dummy for the kids. When I’m in work mode, I add a notebook and pen.

The system that’s changed everything is a shared family calendar—colour-coded, obviously. Things run so much smoother when it’s all in there, plus a little reset each evening before bed means I start most days feeling a little more in control.

Augustinus Bader The Rich Cream and LESSE Ritual Serum are mainstays, and I’m currently obsessed with the Fara Homidi Soft Glass Lip Oil and Contour Lip Pencil. Byredo has long been my signature fragrance—Gypsy Water and Bal d’Afrique are the ones I return to most—though lately I’ve been wearing DS & Durga’s I Don’t Know What.

I’m drawn to the work of emerging female directors: Good One by India Donaldson, Sorry, Baby by Eva Victor, and the 2025 adaptation of Bonjour Tristesse are all on my list. On the page, Strangers by Belle Burden, The Correspondent by Virginia Evans, and Heart the Lover by Lily King have all been standouts—different books, equally devastating—and for listening, The Row’s April 26 playlist and Emma Grede’s Aspire podcast have been on rotation.

And if I’m cooking for someone, it’s caramelised pumpkin pasta with browned butter, crispy sage, and toasted walnuts, finished with a little parmesan. It sounds simple, and it is—but it’s the kind of dish that tastes like you’ve made the effort.