KNWGD
KNWGD is one of my closest collaborators. We've been building his visual world together since the beginning, developing an aesthetic and a language across music videos, visualisers, soundtrack films and photography that feels genuinely his own. Every project has been a chance to push that world further.
Part of how we work is finding the right muses. KNWGD's music lives in a specific emotional space, and the people we place in front of the camera need to complement that. When it clicks, it elevates everything. The right face, the right energy, the right presence in a frame can say more about a record than anything else.
The photography has been just as important as the moving image work. From artwork to editorial stills, those images have helped define how his projects are presented to the world and given each body of work a visual identity that extends beyond the videos.
KNWGD — 2 Phones Visualiser & Photography
Concept
2 Phones was always going to be a visualiser, but I wanted it to feel like more than that. The production samples Careless Whisper, and that smoothness, that warmth, needed to be matched visually. A lavish and exquisite West London hotel gave us the right world to step into.
The concept plays on ambiguity. Two phones — but what does that mean? Business? Relationships? Something else entirely? We never answer it, and that's the point.
You watch KNWGD moving through this space with a muse by his side, sometimes together, sometimes isolated, and you bring your own interpretation to it.
Creative Decisions
The look was deliberately filmy. Grain, warmth, texture, something that felt tactile rather than clean and digital. It needed to match the mood of the sample, not fight it.
The hotel setting did a lot of the work. That level of luxury creates its own tension against the ambiguity of the two phones concept. Someone living well, but what's underneath that? The location asked the question without us having to spell it out.
The edit followed the feeling of the track. Unhurried, smooth, letting moments breathe. Two people sharing a space but not always the same moment.
KNWGD ft. Amar Thirty — Stop Frontin’ Music Video
Concept
Stop Fronting was built around a reference we both loved, Frontin' by Pharrell and
Jay-Z. That video has a specific look, a specific feeling, and it made complete sense for this song. It's the kind of reference that works because it comes from a genuine place. This is the culture we grew up on, the videos that shaped how we think about music visually.
Me and KNWGD are always drawn to that space between modern and nostalgic, what that looks like when you bring it into the present. This video was a good expression of that. Amar Thirty coming on the track added another dimension, blending their world with KNWGD's and finding something that felt cohesive across both.
Creative Decisions
The technique was rooted in stillness. In the original video the camera doesn't do much, it holds its position and lets the subject own the frame, everything happening around them while they stay centred and composed. We carried that through. Locked off frames, minimal movement, keeping KNWGD and Amar Thirty at the centre of everything with the world filling in behind them.
The location was the real foundation. High ceilings, a scale and character that didn't read as London at all, it had that New York loft energy that helped us genuinely emulate the world of that Pharrell and Jay-Z video rather than just reference it.
The stretch limousine with its flashing interior lights was one of those touches that just felt right. There's something inherently nostalgic about a stretch limo, and that feeling fed directly into what we were building.
KNWGD — 2 In The Back Music Video
Concept
Hype Williams is one of my biggest inspirations. The dynamism, the vibrancy, the way colour isn't just a mood but a whole visual language. The futuristic and afro-futurist aesthetics he started to build into his work. The slow motion, the way he could isolate an artist right at the centre of everything happening around them. Nobody constructed a frame quite like him.
Me and KNWGD are both obsessed with Belly. Not just the film but what Hype Williams did with it, the way it feels like the longest, most cinematic music video ever made. That coldness, that blue, that feeling of something always about to happen. That was the starting point for 2 In The Back.
We wanted to bring that energy to London. Ask what that world looks like when it's rooted in our streets, our estates, our culture. We pulled specific visual moments from the film and rebuilt them in our own image, with our own locations, our own people. It felt genuinely ours.
Creative Decisions
The visual contrast between the two main environments was everything. The UV darkness of the party against the stark black and white of the performance space, those two worlds cutting against each other gave the edit its rhythm and tension.
We used the edit to mirror the intensity of the track. Handheld on the performance shots to match the energy, strobes and flash cuts through the party, psychedelic transitions in the UV scenes. Photography burst shots woven into the cut added another texture entirely.
Styling was deliberate in both directions. Utility and military for the white room, neon and all-white to pop under the UV. Two looks, two worlds, one video.
KNWGD — Wait For Me Artwork & Trailer
Concept
Wait For Me is a project that sits between worlds, R&B and rap, intimacy and confidence, nostalgia and now. The artwork and trailer needed to reflect that. We took it to Camber Sands and let the location do what no studio could.
The reference point was that era of iconic nineties couple photography, the kind of images that felt cinematic without trying, where the clothes, the car, the body language all told the story before you even read a word. We wanted to bring that energy into the present and root it firmly in KNWGD's world.
Creative Decisions
Everything was considered. The Mercedes, the matching Sean John tracksuits, the way they move together in the frame, each element was a deliberate nod to that nineties visual language while feeling completely current. Camber Sands gave us a backdrop that could have been anywhere, which was exactly the point. It didn't need to look like the UK, but it was.
Muses are a big part of how KNWGD works. The right person in front of the camera changes everything, and with the model we cast for this shoot, something just clicked. She brought that nostalgic quality naturally, the look, the presence, the way she inhabited the world we were building. You can't manufacture that. It either lands or it doesn't, and this one landed.
The logo designs throughout were created by Nevele, whose work added another layer to the visual identity of the project and tied everything together cohesively.
The images accentuate what the project is actually about. You look at them and you feel the tone of the music before you've heard a note.
KNWGD — Autumn Soundtrack Film
Concept
Autumn started with three songs and three feelings. KNWGD came to me with the project already having a colour and an emotion attached to each track, my job was to take that instinct and build a world around it.
Rather than making three separate music videos, we made one film. A single location, a single night, three chapters. Each section has its own visual identity — Poppin Off energetic and cut to the bone, David Letterman hazy and reflective, Stay Inside intimate and euphoric — but they all live inside the same world. You can watch any one of them on its own or let the whole thing run as a piece.
Finding the location was the unlock. A countryside mansion that gave us the space, the architecture and the atmosphere to hold all three chapters without any of them feeling forced. Once we had that, everything else fell into place.
Creative Decisions
Colour was structural here, not decorative. Each chapter has its own palette that reflects the emotional temperature of the track, orange and kinetic energy for Poppin Off, moody blue and yellow contrast for David Letterman, warm saturated intimacy for Stay Inside.
The edit approach shifted with each section too. Quick cuts synced to the kicks and hi-hats on Poppin Off, VHS layering and slow party atmosphere on David Letterman, smooth panning and overcranked intimacy on Stay Inside. Three different editorial languages inside one coherent film.
KNWGD ft. INFAMOUSIZAK — Stone Cold Music Video
Concept
Stone Cold was about bringing two worlds together. Infamous Izak's raw, edgy energy against KNWGD's cleaner, more polished aesthetic. The tension between those two sensibilities is what gave the video its character.
Blue runs through everything. It wasn't just a colour choice, it was doing narrative work, reinforcing that coldness, that stillness the title carries. London locations throughout, but shot in a way that felt artistic rather than just documentary.
Creative Decisions
Blue was the thread running through everything, cold, deliberate, present in every environment we moved through. The video has a real sense of journey to it, three distinct spaces that each brought something different.
The first half was about energy and community. Shooting with KNWGD, INFAMOUS and the crew on location gave it that raw, street-level feel. A proper London estate, real people, real atmosphere. The kind of backdrop that doesn't need dressing.
We then opened it up. Wide open shots, drone work that could breathe. It gave the middle of the video a completely different scale.
The closing section was shot in a gallery, and that's where the edit got experimental. Playing with effects, pushing the visuals somewhere more abstract. A different register to close on.
The car was a detail that mattered too. KNWGD specifically wanted a particular one, had it driven down from Leeds for the shoot. That kind of commitment to the vision runs through the whole thing.