Early life
As a kid, I wanted to become a philosopher, an artist, an inventor, an actress and a businesswoman. Choosing one felt like giving up too much.
Before high school, I lived through periods of instability and unconventional circumstances, learning primarily by observing, talking to people and experiencing the realities of life firsthand.
I had a hard time fitting in. I felt I had only one chance to make it, which made choosing a direction feel even more consequential. I’ve worked through more ikigai exercises than I can remember. I still think it’s a great tool; I just kept finding more than one answer.
Once I began formal studies, my favourite subjects were psychology, art, technology, business and science. I was fortunate to meet some remarkable teachers along the way. My fine-art tutor had studied at Central Saint Martins and set the bar high from the start. I would eventually study there myself. My biology teacher had come from Cambridge University and taught us about genetic modification, cloning and engineering after class, just for fun. My IT tutor urged me to buy when its price was less than $100.
I wanted to master everything. Every direction seemed to open up more possibilities. So I made the leap without choosing just one, finding my own way at the intersection of art, science and technology.
That decision led me towards a life larger than a single niche or discipline, a life guided by curiosity and the big questions I’m still trying to answer.
Career
In 2018, while studying at Central Saint Martins, I co-founded Auroboros, a fashion-tech company named after the ancient alchemical symbol of constant renewal and transformation. That was my ambition for fashion at the time: to transform its status quo.
My dissertation explored identity, self-expression and consumption in digital spaces. Behind it was a larger question: could we challenge the dystopian futures that dominated our popular imagination and design alternatives people would want to inhabit?
I came to see fashion as a mirror of society, reflecting its desires, hierarchies and changing identities. A garment could hold aspiration, belonging, status, gender, labour and economic value all at once. It could reveal what a society admired, what it feared, and who it allowed to be seen. Fashion was my starting point for a larger inquiry into how the things we create shape the lives we can imagine and lead.
The company became a way to put those ideas into practice. A two-year artist residency at the Alexander McQueen Foundation, The Sarabande gave us space to experiment.
We called our design philosophy , drawing on biomimicry to imagine a future where technology learns from nature. Our references ranged from biology to the imagined worlds of our favourite utopian sci-fi films. We wanted our designs to learn from the natural world while giving ourselves permission to imagine beyond what already existed.
That led us to work with scientists, technologists, writers, artists and humanoid robots, including Ai-Da. We developed innovative materials for couture that grew on the body over six to twelve hours through a crystallisation process. A garment would grow, change shape, size and colour, and eventually fall apart. Its impermanence and mortality were part of the natural life cycle we wanted to propose.
We also pioneered digital clothing for social media and gaming, because why not wear water or fire and express yourself without physical limitations? One in ten shoppers in the UK had bought clothes just to post on social media before returning them. Digital fashion offered an alternative for sustainable self-expression in digital spaces, with 97% lower production CO₂ emissions and 3,300 litres less water used per digital garment than per physical garment.
In 2021, we debuted the first-ever digital ready-to-wear collection at London Fashion Week, released an augmented-reality experience that reached over 2.5 million users at launch, and built a virtual world in which Grimes would perform.
Our designs were worn by Kim Kardashian and Usher, and our work led to collaborations with brands such as Nike.
Auroboros also joined Outlier Ventures’ Base Camp, a technology accelerator for Web3 startups.
In 2022, I was named to the Forbes 30 Under 30 Europe list for Art & Culture. Alongside the artistic and philosophical questions came the realities of building a company: investment, teams, customers. We raised $3 million in venture funding and brought the company to a $20 million valuation.
Vogue covered the emergence of Auroboros, while our work and ideas reached audiences through mainstream media including CNN, WIRED, Bloomberg, in Karinna Grant’s TED talk, and in Netflix’s docuseries The Future Of.
For the first time, I could see the power of being multidisciplinary. The interests I had struggled to choose between helped me bring together people, ideas and possibilities that might otherwise never have met.
It was a wild ride.
In 2025, Auroboros came to a close. Building it taught me how to turn an imagined future into something people could experience and how much more it takes to make that future commercially sustainable.
I carried that experience into my work advising founders and brands building new ventures, with a sharper understanding of what makes an idea useful, why people adopt it and what allows it to endure.
Since then, my consulting practice has included advising luxury brands, NASDAQ-listed companies and tech startups on brand and product innovation. Much of this work is covered by NDAs, so my public portfolio tells only part of the story.
Present
Through my art, the ventures I build and the advice I give clients, I help shape what gets made. I feel responsible for that influence. Design decisions become part of how people live, often with consequences beyond our intentions.
I’m interested not only in what technology will make possible, but in what it will make us want, value and become.
I see beauty as a form of intelligence.
It asks us to understand how things relate to one another, how they make us feel and how they shape our lives. To design a better tomorrow, we need that sensitivity alongside technical capability: the ability to imagine a future we would want to inhabit, and the care to make it worth living in.
I’ve never wanted to choose just one direction. AI gives me more ways to act on that curiosity. The possibility of “zero to many” feels tangible: one person can test and build more of what they imagine. As making becomes easier, deciding what deserves to exist matters more.
The questions that have followed me are now taking new forms: in what I write, what I make and the people I work with.