### The gilet is accompanied by a sixteen-sided dice to determine how it should be worn, which brings to mind ideas about luck and chance. How have these concepts influenced your work?

I think being involved in the art world is really strange, because creative people pride themselves on being free-willed and experimental. Yet, like all humans, we feel secure when we know what's going on around us. Most of us don't even use the agency that we have, we just moan about not having fun. So I wanted to create a project that resigned itself to happenstance. I think happenstance is a beautiful word. It's like a compound of chance and circumstance – accidental circumstance.

Wearing a garment this way takes decisions out of your hand. And that somehow makes your life more spontaneous, more ambiguous and less planned. There are sixteen ways to wear the jacket, which are determined by the roll of the dice, and there's a QR code that you can scan to tell you how to put it together. So not only does it change your experience of the day, it also changes your identity.

A lot of people equate creativity with being an artist, but actually, everyone's creative. Cooking a meal is creative, the bumper sticker you stick on your car is creative. The clothes you wear are a creative act. When we make creative decisions about clothes, we're basically creative directors. We're using sign systems and semiotics to communicate something about who we are, who we have been or who we want to be.

This garment messes that up, it throws a sort of Joker card into the mix. It makes us choose to be someone that we're not necessarily and whether we choose to wear what the dice decides for us says a lot about how far we will be pulled out of our comfort zone, or how much we conform in the end.

### Have you designed any other pieces of clothing before?
My mum was a fashion and textiles teacher and she taught me to sew, so I know a bit about the structure of clothing. I designed some trainers for Adidas and a bag for Porter-Yoshida & Co, and there's a Japanese brand that I've done a few seasons for called A.Four.

I was once in London and saw a guy wearing a limited edition jacket I’d designed that was only sold in Tokyo so the chances of me seeing it were quite remote. I've had artworks shown in well-known museums, but I was more into the fact that he’d bought this piece and was wearing it because he liked it. He didn’t know who I was. He hadn't bought it because he thought it was made by an artist. The institution of art is often based on identity, and the fact that he wanted to associate himself with the way the jacket looked, rather than my identity as an artist, appealed to me. It’s like an exhibition that can go anywhere.

### Have you designed any other pieces of clothing before?
My mum was a fashion and textiles teacher and she taught me to sew, so I know a bit about the structure of clothing. I designed some trainers for Adidas and a bag for Porter-Yoshida & Co, and there's a Japanese brand that I've done a few seasons for called A.Four.

I was once in London and saw a guy wearing a limited edition jacket I’d designed that was only sold in Tokyo so the chances of me seeing it were quite remote. I've had artworks shown in well-known museums, but I was more into the fact that he’d bought this piece and was wearing it because he liked it. He didn’t know who I was. He hadn't bought it because he thought it was made by an artist. The institution of art is often based on identity, and the fact that he wanted to associate himself with the way the jacket looked, rather than my identity as an artist, appealed to me. It’s like an exhibition that can go anywhere.

### Did your design change from your original prototype to the final piece?

It changed a lot with the help of the genius team at Lavenham. Sometimes a fabric or design works in your hands and then when you put it on, it doesn't work at all. Prototyping is a really exciting part of the process of making clothing, because the way it's actualised changes the way it looks a lot.

My whole life has been about trying to not leave art school, and working withLavenham’s team of experts is like an extension of being there, I just want to keep learning more. One of the problems with the world is there's a stigma attached to learning – we all think that we have to learn loads of answers, as opposed to asking questions. We don't need to learn anything; we just need to know how to ask questions.

### What interests you about modular or transformable systems of clothing, and do you have a preferred way of wearing the piece?

Its ability to evolve. It seems uneconomical to buy a winter coat and a summer coat and a coat for when it rains. It makes more sense to have one piece of clothing that can adapt not just to the elements or the terrain, but to the way that you feel as a person as identities fluctuate.

This style is timeless, so it doesn't go out of fashion. I know sustainability is a buzzword, but I just wanted to make something that you could wear all year. It seems like this sort of hybrid garment is really economical – economical in the use of fabric, the movement it requires, that kind of thing.

### What do you keep in your pockets?

This is really weird, I just put my hand in my pocket and found these – it’s not a set up I promise. My little boy who’s four is obsessed with tiny things, and he fell asleep holding these the other night. It's two miniature cows and an eight sided dice, which is half of sixteen. Serendipitous. That brings us back to the first question about fate.