Creative direction that builds distinctive worlds and expressions,
connects with audiences and shapes creative cultures.
Current Creatve Director, Financial Times
Pasture
Content studio
Content studio
Feed the mind, fuel the future
Some ideas deserve to grow slowly.
I founded Pasture as an independent practice exploring food, place and people through thoughtful editorial, photography and design in 2018. (Now everyone does it, right?)
Backed by private investment, it grew into an internationally distributed publication with a loyal audience. From the first conversation to the final printed page, I shaped the editorial vision, identity and creative direction.
Some ideas deserve to grow slowly.
I founded Pasture as an independent practice exploring food, place and people through thoughtful editorial, photography and design in 2018. (Now everyone does it, right?)
Backed by private investment, it grew into an internationally distributed publication with a loyal audience. From the first conversation to the final printed page, I shaped the editorial vision, identity and creative direction.
Financial Times
Advertising / Commercial
I lead the global creative direction of FT Studio, shaping work across luxury, business, culture and technology.
Since joining the FT, I’ve helped evolve Studio into a more distinct and ambitious creative proposition, building its external identity, bringing creative closer to Sales and Strategy, and pushing more of our work towards original commissioning and stronger creative authorship.
I joined the FT in 2023 because I could see there was far more creative potential than the structure was allowing. Over three years, I helped push FT Studio beyond partner-content production and towards stronger ideas, richer visual worlds, better craft and a clearer expression of what commercial work from the FT could be. That meant campaigns, film, photography, motion and digital experiences, but also the things around the work that helped it grow: the Studio proposition, website, newspaper, case studies, Open Kitchen, creative playbook, design system and a more joined-up approach to pre-sale. None of this was done alone, and some of it is still evolving, but my role was often to see what was missing, start making it, bring the right people into it and keep pushing until it became real. Ultimately, I wanted imagination to have a proper role in the business, not as decoration at the end, but as a way to find better ideas, tell better stories and make work the FT could be proud to put its name on.
Since joining the FT, I’ve helped evolve Studio into a more distinct and ambitious creative proposition, building its external identity, bringing creative closer to Sales and Strategy, and pushing more of our work towards original commissioning and stronger creative authorship.
I joined the FT in 2023 because I could see there was far more creative potential than the structure was allowing. Over three years, I helped push FT Studio beyond partner-content production and towards stronger ideas, richer visual worlds, better craft and a clearer expression of what commercial work from the FT could be. That meant campaigns, film, photography, motion and digital experiences, but also the things around the work that helped it grow: the Studio proposition, website, newspaper, case studies, Open Kitchen, creative playbook, design system and a more joined-up approach to pre-sale. None of this was done alone, and some of it is still evolving, but my role was often to see what was missing, start making it, bring the right people into it and keep pushing until it became real. Ultimately, I wanted imagination to have a proper role in the business, not as decoration at the end, but as a way to find better ideas, tell better stories and make work the FT could be proud to put its name on.
The B2B World.
Curiosity belongs in business.
The most complex ideas often need the lightest touch. These projects explore how thoughtful creative systems, editorial thinking and craft can make specialist subjects feel human, engaging and memorable.
Curiosity belongs in business.
The most complex ideas often need the lightest touch. These projects explore how thoughtful creative systems, editorial thinking and craft can make specialist subjects feel human, engaging and memorable.
