Ki, Your early life immersed you in subcultures, from running away with the fair to London’s Acid House scene. How did that shape your photography?
Those experiences shaped everything. Subcultures teach you that image is identity — armour, rebellion, belonging. I wasn’t documenting from the outside; I was part of it. That changes how you photograph people. You recognise the codes rather than exoticise them. Style is political, and that awareness still underpins my work.
Your work bridges subculture and commercial fashion. How do you keep it authentic without commodifying it?
Authenticity comes from respect. I don’t dilute someone’s identity to suit a brand. Fashion can commodify, but it can also amplify. I won’t polish away grit or humanity for comfort.
You began as a news photographer with Reuters and AFP. What led you toward fashion and portraiture?
News photography trained my instincts. I became more interested in individuals than events. Fashion and portraiture allowed me to control narrative while holding onto truth. Weegee, Richard Avedon, and Guy Bourdin are cited as influences. How do they show up in your work? Weegee taught me rawness, Avedon restraint, and Bourdin tension and colour. I like images that feel alive rather than decorative.
You worked with Vivienne Westwood for over a decade. What stands out most from that collaboration?
It was about conviction. There was no separation between the woman and the politics. She wasn’t performing — she was declaring.
How do you capture authenticity when photographing cultural icons who’ve been shot endlessly?
You slow things down and watch the in-between moments. That’s when the person appears.
You often prefer film, describing digital as “too perfect.” Why?
Film forces commitment and imperfection. It feels closer to memory. Some subjects deserve that patience.
What’s your view on AI-generated imagery in fashion?
AI removes risk — and risk is where humanity lives. Imperfection may become the new luxury. Your work frequently documents Soho and East London. Is there a sense of preservation in that? Yes. Photography becomes preservation — not nostalgia, but evidence of culture before it disappears.
What are you working on at the moment?
My current exhibition, An Active Life, is at Lighthouse Soho until 19 March, focusing on Vivienne Westwood and activism. My work is also showing at the National Gallery of Victoria in Australia as part of the Rei Kawakubo / Comme des Garçons exhibition. Alongside this, I’m developing long-term portrait projects rooted in fashion, activism, and documentary.
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