What made you choose Vogue College of Fashion for your studies?

What I liked about Vogue College of Fashion was the way it is commercially focused. I wanted an education that would prepare me to enter the workforce by teaching me how to combine creativity with business thinking so it could be applied to the industry.

What first drew you to the MA in Creative Direction for Fashion Media at Vogue College of Fashion?

I liked that the program looked at creative direction holistically, exploring multiple dimensions that extended beyond fashion design but also into other forms of media and experiential projects.

How did the faculty and industry professionals influence your career path?

I was inspired to extend my search into adjacent industries such as events, hospitality or tech.

Some of the industry professionals who came into our classes spoke about the range of projects they’ve worked on that weren’t always directly fashion-related but still involved innovation, creativity and culture.

Hearing that made me realize those are the values I’m most passionate about integrating into my career.

Were there particular classes, tutors or guest speakers that influenced your vision for Horizons magazine?

I really enjoyed a guest lecture by Sarah Page who came in to speak about multidimensional creative direction. She urged us to develop our ideas of who we intend to connect with and speak to through our work.

This helped me refine my aim for Horizons as I identified that I am primarily speaking to a Black diaspora audience. I also hope to extend this connection to anyone who seeks a sense of grounding in a chaotic and rapidly evolving world through cultural storytelling.

Even for those who may not directly relate to Black culture, I want them to resonate with the empowerment that comes from exploring your roots. I also got a lot of encouragement during the class taught by Tim Rennie. The project I worked on during that term, which was to reinvigorate Liberty by pitching a month-long activation, was also based around Black diaspora culture.

During that term, as I was also working on the FMP proposal, Tim provided motivation on celebrating diaspora culture through varied touchpoints. I really appreciated how he allowed us to explore our own distinct creative direction styles, catering feedback to each of our philosophies and visual signatures.

Your thesis explored how Black diasporic creatives use cultural storytelling—what was the most surprising or inspiring insight you uncovered?

I believe much of Black diaspora creativity and culture is intuitive, with its global resonance rooted in shared histories. This was something I understood before starting the project, and I aimed to demonstrate it through an academic approach so those outside the group could also grasp it and recognize it as fact.

Although many of the themes that emerged as I analyzed my data were feelings I had anticipated, it was still surprising to see the clear evidence in my research, for example academic theory and supporting qualitative data confirming that collaging is a resonant method across Black diaspora creative practices.

What was the biggest creative challenge in turning a 7,000-word thesis into a 100-page magazine?

I found it natural to turn my FMP thesis into the magazine. Initially, I hadn’t planned to include the stories and work of the people I interviewed for my paper in the creative project. However, once I finished writing, I realized I wanted to present them in a more accessible way, knowing the average person wouldn’t want to read such a lengthy, academically written piece.

The most time-consuming part of the process was relistening to all eleven interviews I conducted and revisiting the transcripts to transform them into shorter, editorial pieces for the magazine. Even though it took a while, I wouldn’t call it a challenge because I genuinely enjoyed doing it.

From shoots to design to PR, you managed every detail yourself. Which part of the process pushed your skills the most?

The production side of Horizons challenged me the most. Turning the concept into something tangible meant handling everything from creative direction to logistics, often at the same time.

Coordinating shoots, managing contributors and shaping the final design pushed me to think on my feet and make quick creative decisions. It taught me how to trust my instincts, lead a team and keep the vision clear even when things changed unexpectedly. That process made me a stronger and more resourceful creative director.

What does Horizons represent for you as a creative director, and how does it reflect the ethos of your MA journey at Vogue College?

Horizons represents self-definition and cultural reconnection. As a creative director, it reflects how I use fashion and image-making to explore identity, belonging and heritage within the Black diaspora. The project draws on ideas of perspective and grounding, inspired by my Ghanaian background and diasporic influences.

It also captures the spirit of my time at Vogue College where I learned to combine research with creativity and to approach visual work with intention and cultural awareness. Horizons feels like a culmination of that process, a space where storytelling, theory and aesthetics meet.

What advice would you give to current Vogue College of Fashion students?

Stay curious and trust your own perspective. It’s easy to follow trends or compare yourself to others but the most meaningful work comes from what feels personal and authentic to you. Use the program as a space to explore ideas freely and take creative risks.

Collaborate with people who inspire you and don’t be afraid to make work that reflects your background and values. Your point of view is what will make your projects stand out.

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