During my studies at the University of the Arts London, we worked with many brands and organisations, including Wavey Garms, The National Portrait Gallery, and Pentax Cameras, where we each independently crafted advertising and social media campaigns for these brands.












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Wavey Garms
The National Portrait Gallery
Keep scrolling all the way down for my different editorial shoots, or click on the names above.

Wavey Garms x Sergio Tacchini



With Autumn and Winter approaching during the pre-production phase, my team and I were tasked with finding a way to utilise the collection in the colder seasons.

As part of my degree at the University of the Arts London, the fashion brand Wavey Garms asked us to create an overarching campaign concept with strong creative direction and attention paid to the look and feel.

Wavey Garms x Sergio Tacchini were looking for new and exciting content with the pieces from their Summer of Love Collection. Working in creative teams alongside our BA Photography & Creative Industries course tutors, we crafted original campaigns for the collection. This project offered authentic insight into the fashion campaign process, boosting our confidence and creativity while showing how ideas transform into industry-ready results.







Our Team


Producer: Shantae (@shantaegre._)

Creative Director: Kura (@room_kurahinoish)

Photographers: Crimson (@glitterycrimson)
Jasper (@jasperwondr)
Kura (@room_kurahinoish)

Movement Director: Karina (@karinaangelss)

Editors: Crimson (@glitterycrimson)
Shantae (@shantaegre._)

Model: Saffron + Joe + Paris + Rach












THE DELIVERABLES




THE SOCIAL MEDIA ROLLOUT

 

Young Carers & Me                                                                                                             

with The National Portrait Gallery


Crimson Foster








As part of my degree with UAL, one of my assignments had us working directly with The National Portrait Gallery, in line with their Taylor Wessing Prize in 2025. Since the National Portrait Gallery felt they weren’t reaching as wide an audience as they could, my task was to find a way to connect new, underrepresented audiences with the gallery and engage them with the opportunities it offered.

At the National Portrait Gallery, amongst the portraits displayed as part of the Taylor Wessing collection, photographers were musing on working in male-dominated spaces, such as Hollie Fernando with her image entitled ‘Boss Morris’. The images in the Taylor Wessing collection demonstrate how each photographer can channel their experiences into their work, but how well known is this within underrepresented communities? So my solution is to properly integrate the gallery’s ethos with one particular underrepresented community.

In this series, I focused on photographing young carers in their respite settings. The aim was to showcase them as they are, rather than simply put them in the box of ‘young carers’, especially given that I was a young carer myself during my adolescence. Captured on both Polaroid film and my digital camera, the kids playing, interacting, and simply being free to be kids are showcased. If I speak from personal experience, those years when you are a young carer can spark a lot of anxiety when it comes to putting yourself first. Hopefully, this will intrigue new audiences within these communities with the opportunities the NPG offers. We bring the Taylor Wessing Prize to them, not the other way round.









After sending out pitch decks to intrigue any organisations that support young carers, the Southwark branch of Imago Community was the one that pulled through in the end. Their project manager, Angela, was my point of contact with the organisation, and she selected young carers who’d previously worked with photographers via Imago and expressed an interest in the arts. We both agreed this’d be a fantastic way to show the kids a potential future for themselves, given the trajectory I’ve gone on myself as a young carer.  


One of my visual influences for Young Carers & Me was Ewan Spencer’s series of images entitled One Night in Watford, which were used as promo images for the teen drama Skins (2006-2011). Spencer's photography was staged to look like documentary photography, and each of his images provides immediate insight into the group's dynamics, which were then fully explored in Skins itself. Spencer's photography places the camera as a quiet observer on the periphery of moments that demonstrate character. In this case, the quasi-documentary photography served as a good foundation for my proper documentary work, in which I walked around snapping images of the kids when they weren’t posing or performing, but were existing.


The kids I photographed were invited to create a mind map of all the words they associate with being young carers. Their mind map was digitised/scanned at the darkroom facilities on my university campus and then superimposed onto the final images. Hence, the children’s actual handwriting and words appear on the images, adding an extra layer of insight into these young carers' souls, drawing directly on photographer Wendy Ewald's approach to photography as a social practice. Part of my assignment involved installing my work as part of the marketing campaign to draw underrepresented audiences to the National Portrait Gallery. My installation invites other young carers to contribute handwritten notes centred around the theme of ‘family’. This’ll contribute to forming a growing, collective archive of care, aligning with the aims of bringing the Taylor Wessing Prize to underrepresented communities. Marketing at the very venues they frequent. The tagline for my campaign, “Write your answers here...”, doubles as a call to action during the exhibition to encourage the gallery audience to participate and as a tagline for posters and other marketing materials.








 

“HOMETOWN GLORY” 
PHOTOSHOOT



A project set by my undergrad course at the University of the Arts London, in which we had to create a series of images for the film camera supplier, Parallax Photographic.

Each month, Parallax’s website features a 'film review' editorial which showcases the wide range of looks which can be achieved by shooting on different film formats, under different conditions. For their community of film enthusiasts, the reviews are a key way to keep up to date with new trends, innovations and possibilities in film photography.

This brief tasked us with seeking out and then collaborating with an up-and-coming musician to capture a series of images centred on what home means to them. The final images needed to be shot on film, or digitally and then edited to mimic 35mm, instant, or medium-format film stock.




THE DELIVERABLES





THE CASE STUDY




TUUDI is an up-and-coming alt-pop singer who aims to explore new ways to promote her upcoming songs effectively through social media. From TUUDI’s perspective, a photoshoot demonstrating her concept of “home” will help her fans feel that parasocial bond tighten. A parasocial relationship is one-sided between a performer and the audience members who watch. It’s one-sided because the performer doesn’t know any of their viewers, yet the relationship still feels authentic to the audience. From my perspective, film photography evokes a strong sense of nostalgia. TUUDI could relate to having all her childhood photos shot on film. The format feels like a series of memories, like being at home.

TUUDI grew up in Bedfordshire before moving to London to study at a university, where she made the city her home after graduation. The two of us could relate to each other, moving from small towns with little support as creatives to the largest hub for those who adore the arts. Her interests in fashion, movies, travelling and music allowed her to build up a found family in this city. They’re the things she finds solace in, making them her home, and that’s what we captured. Travelling across London, including thrift and record stores in Brick Lane and a cinema in Peckham, visualises how easy it is to become soaked in the city's culture. The locations are an externalisation of the internal feeling of home that TUUDI has presented to her audience. Her passions are her home, as is creating her music - hence the visual motif of her laptop and headphones throughout the different locations, given she makes her music electronically on her computer.

Film photography offers these imperfections that cannot be eliminated. Developing film adds a layer of tangibility to punctuate the intimacy of TUUDI sharing her life, culminating in a way that’d endear her more to the audience she wants to capture with her music. They can relate to her through the interests they share, delivered in a nostalgic, tactile manner that reminds them of home. Parasocial relationships are built on likability, driven by perceived similarities between the influencer and the audience member.

This photoshoot was done digitally but edited to give the illusion of film photography. The equipment used was my own, as my lens dates back to when film cameras were the norm. Hence, the lens creates this natural softness immediately, making the images look more like film photos before I even have a chance to edit them. The colour-reversal film Kodak Ektachrome 5294 inspired the editing process - specifically how it was utilised in season two of the HBO drama Euphoria (2019-present). Developing Ektachrome as a negative rather than a positive creates these visually attractive green tones you wouldn't typically get, so the colour mixer tool and colour grading wheels in Adobe Lightroom were used to achieve the green tint, mixed with yellows and oranges. Adjusting the noise in Photoshop also slightly washes out the images, and the “dust and scratches” introduce slight distortions. The aim was to achieve a dirty aesthetic, with a rough texture reminiscent of matte paper, by scanning it onto a computer.

The lived-in aesthetic of tactile dirtiness, which heightens emotional intimacy, demonstrates how film can elevate a concept.




The Casting Project
My university tasked me with creating a series of images that visualise the modernised idea of an editorial, centred on inclusivity, sustainability, community, play, and disruption, which required me to collaborate with other creatives, such as makeup artists, to create an editorial piece for a real-world publication, based on a theme from its back catalogue.

A photoshoot which explores themes of an internal sense of multiculturism, what it means to be British and Black, and how multiple distinct cultures manifest in a single person. This project centres on the idea that the concept of an “editorial image” has moved beyond mere marketing of luxury items.

Despite being born and raised in Gloucestershire and being very much interested in these things that are stereotyped as “white”, I am still the grandchild of a couple who migrated from the Caribbean to the UK back in the 1950s. And those elements of Caribbean food, music, and culture have been part of my childhood as well. I feel this connection to Caribbean culture and British culture within myself, and that’s what my idea is riffing on: I’ve been described as an “Oreo” growing up because people perceive me as being “black on the outside but white on the inside”, and that concept is the thesis statement of my project.

The photographer Petra Collins was particularly inspiring, with her shoot for Wonderland Magazine, featuring Zendaya, which serves as the blueprint for this new shoot. That shoot has a warm, dreamlike quality, with a soft, ethereal glow. The lighting is soft. Generally, to create this dreamy aesthetic, she’ll use things like lamps, fairy lights, and the sun at golden hour.







The concept explores having two distinct cultures within a single person, stemming from their upbringing in Britain and their foreign heritage. The underlying feeling is a sense of being British and identifying with that, yet being stereotyped as ‘the other’ due to your race. It’s like being perceived as black on the outside yet white on the inside. An Oreo. It shines a light on the unique experience of a nonwhite creative and how race impacts different areas of their life.