Ten years inside fashion. The last of them without a camera.

The decade before this one went on campaigns for major European houses — rooms where a single frame is argued over for a week, and the wrong one costs a season. That is where the craft actually sits. Not in the equipment: in knowing why one image sells a garment and the next, shot the same afternoon, does not.

That judgement is what I bring to generation. Casting, direction, light, grade, retouch — every one of them still a decision, made frame by frame. What generation removes is the part that was never the point: the studio you book, the day surrendered to weather, the second shoot for one more colourway.

One person from brief to delivery. No account layer, no handover, no version of the idea that gets diluted on its way to the file.