10+
Brands
From first sketch to Vogue Runway — select a garment to explore its journey
Print & Lace Designer, Womenswear
Sea NY LoveShackFancy Isabel Marant Zara
Curated projects across luxury womenswear, print, lace development and sportswear
Resort 2026 — Battenburg Lace
I developed the lace and embroidery direction for Sea New York's Resort 2026 collection — 15+ styles spanning Battenburg lace dresses, eyelet blouses, quilted jackets, fringed tops and beaded embroidery. From selecting the right lace technique at the mill, through embroidery development and multiple fitting rounds, to final buyer-approved samples. My role sat on the export development side: lace selection, embroidery direction, fit corrections and buyer-ready handover. The collection was reviewed on Vogue Runway.
SS24 & AW24 — Print & Product Development
Print engineering and embroidery development across two separate Inditex briefs — 33+ styles for Zara Home loungewear and Zara Lingerie. The challenge: translating mood board vision into artwork that survives the wash, the print bed and mass production at Zara's volume and speed. My role covered artwork development, placement checks, colour separation and sample coordination. Fabric range covered cambric, voile, poplin, linen and viscose-cotton satin.
SS24 — Embroidery & Print
Eyelet, schiffli embroidery and hand-painted floral conversions for LoveShackFancy's SS24 womenswear range. The brand demands a specific romantic vocabulary — everything must feel effortless even when the construction is incredibly detailed. My role covered embroidery artwork, vendor coordination and translating the New York team's direction into production-ready files for Indian manufacturing.
Womenswear — Print & Product Development
Print and product development for Banana Republic's womenswear range — 14 styles spanning engineered prints, all-over repeats and placement graphics, each developed with refined colourways and precise placement to translate cleanly from screen to garment. My role covered print artwork, placement checks and approval rounds with the US buying team.
Print Development — Pattern to Garment
Ten original print designs developed end-to-end for Pull & Bear — from initial repeat concept through colour separation to the finished sample garment. My role was print-side development: repeats, scale, colour separation and final artwork handover. Each pairing below documents that journey: the original print artwork on the left, the production garment it became on the right.
Womenswear — Lace & Embroidery Development
10 womenswear styles developed for Sézane — intricate lace embroidery, romantic silhouettes and meticulous detailing that honours the brand's Parisian-born design language. My role was export-side sample development: translating Paris direction into production-ready samples, fittings and buyer approvals across time zones.
“Making a delicate idea actually manufacturable at scale — that's the puzzle I love most.”
I start with the fabric. Print, lace or embroidery sets the tone first, then I build the garment around proportion, movement and production limits.
Four years in export-led womenswear — working directly with buyers in New York, London and Paris, and translating their seasonal briefs into samples good enough to sell.
Most recently I led print and product direction at FA Home & Apparel across ten-plus international brands, through May 2026. Before that I worked with The Edinburgh Woollen Mill on their UK collection and at Saivana Export on premium labels including Rhode and Dôen.
My Battenburg lace development for Sea New York ended up on Vogue Runway — which was a real highlight, but honestly the day-to-day work I love most is the technical puzzle of making a delicate idea actually manufacturable at scale.
A few things from outside the day-to-day work that meant something.
Lakme School of Talent
Got to spend time learning directly from Manish Malhotra at the Lakme School of Talent. Two days of watching how someone thinks about silhouette, embellishment and dressing a woman — the kind of thing you don't really get in a classroom.
National Fashion Illustration Competition
Made it to the finals of Sahasrar — a national fashion illustration competition. The brief was open, so I went with a textile-heavy series that leaned into pattern and repeat. One of the first times I felt genuinely confident in my own visual language.
FAD International Academy
Ran the creative side of FAD's annual talent show. Decided the concept, the styling direction, how the space should look and feel. It was the first time I had full ownership of something start to finish — and it worked.
FAD International Academy
Brand positioning, luxury consumer behaviour and the business side of fashion — taught by practitioners who'd actually worked at the houses we were studying.
2022Chandigarh University
Three years across garment construction, textile science, pattern making and design theory. Where I first figured out that the technical side of fashion is what genuinely interests me.
2017Ready to create something beautiful?
Available immediately. Open to international studios.