"This was my graduate collection from Queensland University of Technolgy, where I won a competition to show at L'oreal Melbourne Fashion Festival that I consider the kickstart of my career. I was inspired by the idea of mixing dark, creepy things with bright colours to make them cute."

"Redneck Nostalgia was special because it was my second collection ever, my first outside of fashion school, and where I debuted my Brewski and Rollin' Dice prints. I was really inspired by classic Americana and the idea that the American Dream was an advertising movement as much as a cultural one."

"My Droogs collection was inspired by the novel and film adaptation of A Clockwork Orange. It was one of my Favourite books as a teenager and opened my eyes to the world of weird and dark stuff. My design process is often inspired by films and their ability to tell stories through stylized visuals."

"Heavenly Bodies was the last collection where I designed exclusively womenswear. It was about celebrating the human body in all forms, and exploring the magic of femininity. I wanted to inspire people to look at the human form through the lens cosmology and make them question the meaning behind what it is to exist as a very small, but very complex part of our universe. The human body and the universe are both infinitely complex, and beautifully elegant in their simplicity when you break them down to a molecular level. The same elements that make up everything in the expanses of space and time also make up the human form. It’s crazy to think about."

"Midnight Cowboy was my second ever Toronto Fashion Week runway show and my first foray into Fall/Winter designs after moving back home to the cold Canadian climate. The collection was very experimental in terms of prints as I tried to reimagine the idea of classic leopard and camo prints in colours and shapes reminiscent of a cold desert at dusk. Some of my favourite graphics also emerged from this collection, like my serpentine print and the 8-Ball Cowboy Hat design, which makes direct reference to the gritty hustler character portrayed by Jon Voigt in the 1969 best picture winner the collection takes it's name from. There wasn't really a deep message behind the collection, I really just wanted put a disco spin on classic cowboy imagery, kind of a like a Spaghetti Western with a Bee Gees soundtrack. The idea of a bunch of rough-and-tumble ranchers dancing to disco in a neon lit club is a weird juxtaposition, but kind of sums up the Las Vegas vision of American culture that people conflate as a legitimate cultural component of the USA if they've only ever experienced the culture second-hand. Living in Australia I got to experience the concept of Westernized Pop Culture through the looking glass and Midnight Cowboy was sort of my book report on that
experience."

"Carnival of Curiosity was one of my more simple and overt collections in terms of messaging and imagery. I basically wanted to have fun and try to capture the travelling carnival experience through a slightly skewed lens by adding a subtly sinister vibe to a seemingly innocuous theme. Some of our most popular prints are from this collection, which was brimming with colour and bubbling with youthful energy. The Admit One print, Poodle print, Deadly Slushee print and Dodge the Reaper print are all from this collection. I played with metallics and textural elements to allude to the slick and highly packaged nature of a carnival which can be seen as a celebration of consumption. At the carnival, people of all ages come together to let loose and allow their inner child to eat cotton candy and spin around in circles until they feel sick."

"Gutterball was a really fun collection for a lot of reasons. I decided to
take inspiration from a kind of left-field source to try to challenge
myself. The collection is inspired by the movie, The Big Lebowski and its infamous main character, The Dude, who is anything but fashionable. I created prints centred around his beverage of choice, the White Russian, bowling balls (his favourite pastime) and a scene where his enemies threaten to chop off one of his most important parts with a pair of scissors. I framed the oddball imagery through the lens of a bowling alley, where much of the movie takes place, and chose silhouettes there are reminiscent of a team bowling uniform. We even had oversized bowling pins and milk cartons as props. It was also one of the more diverse castings I've ever had with models ranging from 5'1" to 6'7" and 18 to 68 years old."

"Like most high school students, I wasn’t immediately interested in reading Shakespeare, but when I saw Baz Luhrmann’s ‘Romeo and Juliet’ I was blown away by the imagery and cohesive stylistic cues. The movie had such an affect on me, I actually have ‘misshapen chaos of well-seeming forms’ (a quote from the play) tattooed on me. I did a semester in Australia in high school and even ended up doing an independent study on the play as my grade 10 English credit. Our SS17 collection, Verona Beach is basically a reimaging of the gothic, pseudo-religious California surf vibe of the film. I created my take on a classic Hawaiian shirt palm print, and used crosses, and skulls to allude to the tragedy of the ill-fated love of the young title characters. My favourite print from the collection is a tropical fish print inspired by the scene where Romeo and Juliet meet for the first time as they see each other through an aquarium full of beautifully coloured fish. We showed the collection in a rented church and did a lookbook in a mansion for the full effect."

"Deja Moon was a big accomplishment for me because it was presented in partnership with Hasbro and featured designs inspired by My Little Pony. In order to put my own spin on it, I extended the My Little Pony imagery to include general references to lighthearted memories, ethereal dreamscapes, and nostalgia. The designs I came up with would all feel very at home in a hazy, half-remembered image from my childhood, hanging out with friends, talking on the phone, or daydreaming about teen pop idols. I wanted to conjure up images that basically anyone growing up in the 80s, 90s and early 2000s could feel some sort of affinity towards."

"For this collection I imagined a post-apocalyptic world where only the young have survived and have banded together to create a society where they worship relics from the past and try to comfort themselves with old fashioned country club leisure. I combined metallic elements and utilitarian nods with comfortable fabrics and sporty shapes to present a future world where petroleum products and consumerist trinkets are valued like gold and diamonds. I loved flexing my imagination muscle on this one and coming up with prints featuring mundane, commonplace elements like rotary phones and bicycles."

"This was my homage to space horror and old science fiction and I think our collection story sums up my thoughts perfectly: “In the deep recesses of the human psyche lies the vastness of human consciousness. The brain limits our perception of time and space as a safety mechanism to protect us from our true potential. Despite this, interstellar travel and contact with alien life are an inevitability. Spiralling ever closer to the convergence of robotic perfection and maximum biological evolution we cannot escape one thing: Cosmic Dread.” It’s basically an intro to philosophy essay by a film student in the form of a collection."

"This was my graduate collection from Queensland University of Technolgy, where I won a competition to show at L'oreal Melbourne Fashion Festival that I consider the kickstart of my career. I was inspired by the idea of mixing dark, creepy things with bright colours to make them cute."

"Redneck Nostalgia was special because it was my second collection ever, my first outside of fashion school, and where I debuted my Brewski and Rollin' Dice prints. I was really inspired by classic Americana and the idea that the American Dream was an advertising movement as much as a cultural one."

"My Droogs collection was inspired by the novel and film adaptation of A Clockwork Orange. It was one of my Favourite books as a teenager and opened my eyes to the world of weird and dark stuff. My design process is often inspired by films and their ability to tell stories through stylized visuals."

"Heavenly Bodies was the last collection where I designed exclusively womenswear. It was about celebrating the human body in all forms, and exploring the magic of femininity. I wanted to inspire people to look at the human form through the lens cosmology and make them question the meaning behind what it is to exist as a very small, but very complex part of our universe. The human body and the universe are both infinitely complex, and beautifully elegant in their simplicity when you break them down to a molecular level. The same elements that make up everything in the expanses of space and time also make up the human form. It’s crazy to think about."

"Midnight Cowboy was my second ever Toronto Fashion Week runway show and my first foray into Fall/Winter designs after moving back home to the cold Canadian climate. The collection was very experimental in terms of prints as I tried to reimagine the idea of classic leopard and camo prints in colours and shapes reminiscent of a cold desert at dusk. Some of my favourite graphics also emerged from this collection, like my serpentine print and the
8-Ball Cowboy Hat design, which makes direct reference to the gritty hustler character portrayed by Jon Voigt in the 1969 best picture winner the collection takes it's name from. There wasn't really a deep message behind
the collection, I really just wanted put a disco spin on classic cowboy imagery, kind of a like a Spaghetti Western with a Bee Gees soundtrack. The idea of a bunch of rough-and-tumble ranchers dancing to disco in a neon lit club is a weird juxtaposition, but kind of sums up the Las Vegas vision of American culture that people conflate as a legitimate cultural component of the USA if they've only ever experienced the culture second-hand. Living in
Australia I got to experience the concept of Westernized Pop Culture through the looking glass and Midnight Cowboy was sort of my book report on that experience."

"Carnival of Curiosity was one of my more simple and overt collections in terms of messaging and imagery. I basically wanted to have fun and try to capture the travelling carnival experience through a slightly skewed lens by adding a subtly sinister vibe to a seemingly innocuous theme. Some of our most popular prints are from this collection, which was brimming with colour and bubbling with youthful energy. The Admit One print, Poodle print, Deadly Slushee print and Dodge the Reaper print are all from this collection. I played with metallics and textural elements to allude to the slick and highly packaged nature of a carnival which can be seen as a celebration of consumption. At the carnival, people of all ages come together to let loose and allow their inner child to eat cotton candy and spin around in circles until they feel sick."

"Gutterball was a really fun collection for a lot of reasons. I decided to take inspiration from a kind of left-field source to try to challenge myself. The collection is inspired by the movie, The Big Lebowski and its infamous main character, The Dude, who is anything but fashionable. I created prints centred around his beverage of choice, the White Russian,
bowling balls (his favourite pastime) and a scene where his enemies threaten to chop off one of his most important parts with a pair of scissors. I framed the oddball imagery through the lens of a bowling alley, where much of the movie takes place, and chose silhouettes there are reminiscent of a
team bowling uniform. We even had oversized bowling pins and milk cartons as props. It was also one of the more diverse castings I've ever had with
models ranging from 5'1" to 6'7" and 18 to 68 years old."

"Like most high school students, I wasn’t immediately interested in reading Shakespeare, but when I saw Baz Luhrmann’s ‘Romeo and Juliet’ I was blown away by the imagery and cohesive stylistic cues. The movie had such an affect on me, I actually have ‘misshapen chaos of well-seeming forms’ (a quote from the play) tattooed on me. I did a semester in Australia in high school and even ended up doing an independent study on the play as my grade 10 English credit. Our SS17 collection, Verona Beach is basically a reimaging of the gothic, pseudo-religious California surf vibe of the film. I created my take on a classic Hawaiian shirt palm print, and used crosses, and skulls to allude to the tragedy of the ill-fated love of the young title characters. My favourite print from the collection is a tropical fish print inspired by the scene where Romeo and Juliet meet for the first time as they see each other through an aquarium full of beautifully coloured fish. We showed the collection in a rented church and did a lookbook in a mansion for the full effect."

"Deja Moon was a big accomplishment for me because it was presented in partnership with Hasbro and featured designs inspired by My Little Pony. In order to put my own spin on it, I extended the My Little Pony imagery to include general references to lighthearted memories, ethereal dreamscapes, and nostalgia. The designs I came up with would all feel very at home in a hazy, half-remembered image from my childhood, hanging out with friends, talking on the phone, or daydreaming about teen pop idols. I wanted to conjure up images that basically anyone growing up in the 80s, 90s and early 2000s could feel some sort of affinity towards."

"For this collection I imagined a post-apocalyptic world where only the young have survived and have banded together to create a society where they worship relics from the past and try to comfort themselves with old fashioned country club leisure. I combined metallic elements and utilitarian nods with comfortable fabrics and sporty shapes to present a future world where petroleum products and consumerist trinkets are valued like gold and diamonds. I loved flexing my imagination muscle on this one and coming up with prints featuring mundane, commonplace elements like rotary phones and bicycles."