Moss on Dorsia

I led our integration and visual build-out on Peoplevine, then designed the members' app we moved to on Dorsia, a private club booking and CRM platform. That covers member home, booking flows, event discovery, programming, dining and the Bedrock product pages, the retail imagery and every App Store and Google Play screen, and I owned the design direction, visual spec and handoff.

The Moss illustrations carry home and events, Babette's food photography leads dining, and Bedrock's palette and BR seal run through the sport and spa pages, laid out as tiles you can book in two taps.

All Hallows' Eve at Moss

A medieval night for All Hallows' Eve, which I took from the invitation suite all the way through to the table: a candlelit altar banquet, gilded mirrors and velvet drapery, the M M banner hung over it all, and a scorpion-tray dessert centrepiece sitting in the middle of the room.

We co-hosted the follow-on evening on 9 November with NYU Langone and Manhattan Magazine.

Marjon Carlos at Moss

Marjon Carlos hosted the dinner, and we built a somatic bodywork series with Ash Rucker around it so the evening had a little more to it than the meal. The library was set against its painted mural, with flowers hung from the chandelier and the salad course plated from the pass, and by the end of the night it had turned, slowly, into music and dancing.

Italo Disco at Moss

A one-night takeover of the club that I art-directed as a campaign, with one idea running from the first mailer to the night itself: an illustrated postage-stamp mailer, three Disco Bambino invites and the event shoot with Kate Owen.

The save-the-date was the first thing guests got, half Italian cinema poster and half vintage stamp, printed in two colours on uncoated stock with a perforated edge and sent in a plain cream envelope. In the room there were Disco Bambino coasters, the Moss M tiger-print sticker, monogrammed Bar Vetti coasters and stamped Arrivederci gift bags.

Ella Quittner at Moss

Dinner with Ella Quittner, with panna cotta and strawberries served in coupes along the bar, cherry blossom down the tables and a letterpress menu waiting at every cover. Food and prop styling was with Pearl Jones, and the still life with Adrianna Glaviano.

Après Ski at Moss

Winter 2026, when we turned 520 Fifth into a ski lodge, with an Alpine Aperitivo alongside Doladira, pine sprigs on the tables and Swiss chalet stencilwork on the walls. I did the concept, art direction and photo direction with Daniel Paik for the event, the lookbook and the install.

Financial Times, You've Hit Bedrock

Our placements in the Financial Times, full pages and quarter pages in the paper with billboards running on FT.com alongside. I did the concept, art direction and design, directed the photography, and handled the file prep, colour proofs and press delivery myself, going back and forth with Emily Singer at the FT until each one ran.

Shown here are the pages as they went to the paper: You've Hit Bedrock, the full page that ran on 28 September, In A Pickle, the Bedrock quarter page for 9 November, and the two web billboards, Physical Culture and Intelligent Leisure.

Bedrock Aquatics & Athletics

Moss's sport and wellness club, built seventy feet down into Manhattan bedrock. Through pre-opening I ran the day-to-day with Polonsky & Friends and moved the brand along round by round: naming, logo and monogram, type, colour, moodboard, brand book, lookbook, spa menu, environmental graphics and the fitness schedule. Caroline Jelert, then Head of Design, led the packaging, and these days I look after the brand and its campaign calendar.

The references were old travel posters and Olympic graphics, kept calm and modern. The brand book has a silver-foil serif wordmark on olive uncoated stock, and I pushed it towards old athletics and away from performance marketing, more Lacoste 1980 than modern wellness.

Still life with Adrianna Glaviano

A still-life series for Bedrock and Babette, shot by Adrianna Glaviano with Pearl Jones styling. Every object on set had to carry the brand on its own, so for Bedrock there is the custom-made comb laid with soap on red marble, a dumbbell next to a chrome bottle, Indian clubs and a weight plate against the wood panelling, the sauna hat, the robe and the green menu, and for Babette it is espresso, silver trays and the menus.

These are the pictures that now carry both brands across the app, the menus and the campaign.

Moss New York

The members' club at 520 Fifth Avenue, and the brand everything else answers to. It is a hand-drawn wordmark, single-line illustrations and Tiempos italic for the editorial voice, and I carry it through the invites, the decks and the app.

Babette, Inklings, Lil's

Three Moss hospitality brands tied together by a shared type, colour and ornament family. Babette is a Franco-American brasserie, a terracotta script on blush pulled from Le Veau d'Or, Pierre Cardin and late-seventies Paris restaurants. Inklings is a cocktail bar built around conversation, with a hand-drawn wordmark and loose, slightly tipsy line drawings that turn up on menus, matchbooks, napkins and felt coasters.

Lil's is a late-night piano lounge named for Lil Hardin Armstrong, in olive and ink, with a chubby disco serif that reads 1972 from across the room. I extended it into Live at Lil's, the music series, with printed invites and member mailers for the Elijah Fox night and the Bryndon Cook residency.

Moss Monthly & Moss Journal

The members' programming calendar, out every month in print and on Instagram. It is half editorial and half poster, in Tiempos italic with hand-drawn illustration, and I do the concept, design, layout and illustration direction.

Alongside it is Moss Journal, Volume 1, a twice-yearly print journal built around the paper anniversary: 72 pages at 6.5 by 9.5 inches on rough uncoated stock, with a silver-foil M on the cover. I wrote the brief, set the paper and production spec and art-directed three rounds with Polonsky & Friends, and most of my notes pushed it away from a clean, gridded magazine towards something that feels made by hand, with scans, collage, paper texture and a looser grid.

Lesse × Bedrock

A spa collaboration with Lesse that ran through the wellness floor. There was a Holiday Pop-Up invite, a bowl of lemons, pears and oranges on the welcome counter that I stickered by hand, a Lesse × Bedrock capsule for the amenity trays, and a shoot in the space with Neada Deters.

Moss Councils' Cocktails

The councils' cocktail hour, styled as edible towers on silver salvers, with radicchio, snap peas, physalis and cornichons stacked up high, dips in footed bowls, and the welcome table set against the wood-panelled library.

Partnerships & events

Rhone × Moss, 2026: I did the creative for Rhone's activation in the club, from the visual system and printed invite to the in-space graphics, member comms and the shoot. The challenge was bringing a performance apparel brand into a members' club without watering down either one.

Salomon × Moss, for NYC Marathon week 2026, was a shakeout run from Bedrock's spa lounge to Salomon Flatiron and back, ending with kids' sign-making at Inklings, and I made the notecard and run collateral. Getting trail-running energy to feel right on Fifth Avenue is my favourite kind of problem.

Around them sits the events calendar, all one visual family and all designed, printed and produced in-house: FIFA World Cup at Moss, In Good Company: A Juneteenth Supper, the Women's Power Breakfast, the BR Track Club, which is Bedrock's running offshoot, and the Run & Brunch Club, Saturdays at 8am from Central Park to Babette.

Always Cold

My senior thesis was a year of thinking about Scotland, made in cast bronze, hand-embroidered Chantilly lace, copper-plate etching and 3D-modelled hairpins. I made the gown myself, in silver thread and black lace, as a nod to McQueen's Highland Rape collection from A/W 1995, and then wore it on the hike up Kinpurnie Hill in the Sidlaws, which is where these photographs were taken. At the top is Kinpurnie's old stone tower, built as an observatory in the 1770s by an amateur astronomer, roofless for most of the time since and very nearly knocked down in the 1970s before it was saved.

The lobster claws in Mer's Magical Hands are my grandmother, who runs the family, and the etching is for her.

Objects

A working library of pieces, each one modelled in wax and cast in bronze or sterling, or finished by hand from bronze blanks. They are shown here as chrome renders, and the original files sit in the models folder alongside the site.