Rewrite
From stylists to music producers, creative directors to choreographers: meet the people bringing your favourite things to life: the Unsung Heroes.
Pop culture is loud. Shiny. Unrelenting.And somewhere just to the left of all that noise are the people actually making it work. Meet Wonderland’s Unsung Heroes, the ones who make it look easy—without ever being seen. The stylists, producers, directors, choreographers, casting agents, and miracle-workers who build the mood, sculpt the sound, and nudge everything into relevance. They don’t ask for credit (though, frankly, they should). They’re busy backstage with safety pins in their teeth, fine-tuning beats on no sleep, translating vague celebrity texts into full-blown concepts. Their fingerprints are all over the culture we consume—if you know where to look.
Livia Rose-Johnson
Brooklyn-born Livia Rose-Johnson is the kind of creative who resists definition—because she’s too busy reshaping it. A cultural curator with the range to match the title, she casts, produces, writes, makes music, and creates fine art, all with a sharp instinct and unapologetic sense of purpose. At just 19, she launched her casting agency, Multii Media (@Multiimedia), and since then, she’s cast Grammy-nominated visuals with Asake and Wizkid, brought vision to Skrillex and A$AP Mob, and built out campaigns for Instagram, Soho House, and more. Her work doesn’t follow trends—it builds frameworks. In her world, representation isn’t the add-on, it’s the blue print—and she’s making it ours too.
What gets you out of bed in the morning?
To be real, sometimes I don’t—and I’ve learned not to be ashamed of that. I’m unlearning burnout culture and embracing rest as power.
What’s your craft?
I’m a cultural curator—the evolved version of the connector—I cast, produce, curate, write, make music, and create fine art—all in service of building culture. I started my agency at 19. By 20, I’d raised almost six figures reimbursed through culture and nonprofit work.
Why do you do it?
I’m familiar with the feeling of exclusion in spaces I knew I belonged in—so I wrote myself into the narratives that shaped them.How do you approach your creativity with diverse representation? Representation isn’t a layer I add—it’s the ground I build from. Whether I’m casting, producing, or making art, I start by asking: Why do we assume this person, place, or idea belongs here? And then I challenge it. I want people to feel something new. When we emulate, we erase. But when we create from truth that only genuine representation can articulate, we open space for others to feel seen—maybe for the first time.
What’s your proudest project so far?
Kiss to Time—my curatorial debut—is my heart. It brought together 50+ creatives from my community in a self-funded, week-long shoot that honours the beauty of trying, not just winning. Casting Asake x Wizkid in one day—my first London project and Grammy-nominated credit—showed me the power of trusting my instinct. And the Tia, Corinne & Bloom party? A Fashion Week built fusing luxury cannabis, AI, and community. Now, I’m stepping into music with my debut single…This next chapter? It’s all me—louder, freer, and more expansive than ever.
What’s the biggest challenge in changing the creative industry?
The industry is full of contamination—I’ve watched raw, real, brilliant creatives become manufactured versions of themselves. The real challenge is making sure I’m the same person I was when I started the race to the finish line.
Who do you dream about collaborating with?
Rihanna. Period. She’s the blueprint for building an empire without losing essence—and I will work with her. Doechii’s doing incredible things. Doja Cat? I’d love to cast for her again. Zendaya too—whether casting or collaborating. I’ve also been watching Mowalola a lot and the New Gen girls.
How do you see the future of casting and all your creative pursuits evolving?
Casting and culture creation is world-building—it’s about perspective, not just presence. I see the future leaning into raw resonance: real people, real stories, real energy.
What defines a ‘hero’ to you?
A hero expands your worldview—triggers something in you that shifts how you see everything. They don’t just talk about change—they live it.
Who is yours?
My grandmother is my hero, she faced challenges that weren’t always fair, but she lived by the golden rule of treating others the way you want to be treated. And then, of course, Rihanna. She’s a fucking boss.
Jessica Lee Gagné
From the moment she can remember, Jessica Lee Gagné was surrounded by the flicker of VHS tapes in her dad’s video store in Quebec City. It was there that her love for cinema took hold—especially European films, thanks to her mum’s singular taste. Fluent in four languages, she speaks one best: the syntax of a perfectly framed shot. She picked up a 35mm camera in high school and never put it down.Two decades later, she’s still behind the lens—only now, she’s calling the shots asa director. Her Severance debut, episode seven, “Chikhai Bardo,” set the internet ablaze, hailed as a devastating masterpiece. Now, the question isn’t if she’ll return to the director’s chair, it’s when. Watch this space.
What’s the first thing you do when you roll out of bed?
Run across my bedroom to turn off my alarm—if it were next to my bed,I’d probably snooze all day. These days, I’m also trying to go straight into meditating when I wake up.
What’s your craft?I’ve been a cinematographer for 15 years, but I’m right in the middle of transitioning to directing. What I love most is creating original cinematic languages and building entire worlds.
What drives you to do it?
I love languages—I actually learn them for fun. I speak English, French, Spanish, and I’m currently learning Russian. But my favourite language is cinema. I find this art form is the ultimate tool for communication. Coming up with shots that speak metaphorically excites me every day at work.
What film has shaped you as a cinematographer?
Kluteby Alan J. Pakula, shot by the great Gordon Willis. To me, it’s one of the best examples of 1970’s New York filmmaking. It’s so timeless—it holds up against anything being shot today.
Is there a project that almost broke you, but you’re glad you did it?
I don’t think a project has ever come close to breaking me, but I’ve worked on very challenging productions that made me question whether I wanted to stay in the industry. The sacrifices we make to create films are undeniable—especially as a woman. It’s incredibly difficult to take care of your personal life when you’re completely immersed in making these shows.
What’s the one thing you always bring to set, no matter what?
My script binder—it has all of my notes on how we’re shooting things.
Your directorial debut, episode seven of Severance season two, blew up. How did that make you feel?
I definitely wasn’t expecting that kind of response. I actually called Ben a couple of weeks before it came out, freaking out because I was afraid some people might hate it or not get it. He helped me through the transition to directing. He said that once something is released into the world, you have to let it go—it becomes what people see in it. When the response was so positive, I was obviously relieved and grateful, but also excited that audiences are open to this kind of filmmaking. People want to see highly crafted work that demands their attention.
What’s the one shot in your episode that still sticks with you?
The close-up on Gemma after she announces her pregnancy to Devon, which then transitions to the miscarriage scene—for me, that’s the most powerful shot of the episode. So many of these transitions were about moving through time or life fluidly. I believe there’s a space outside of time where everything is happening all at once, and with these kinds of shots, I was playing with that idea.
What was the toughest part of directing in a world so off-kilter?
Specifically for episode seven, the biggest challenge was creating the language of the past. You want it to feel completely different, but it still has to be part of the same show. I focused on simple, essential filmmaking for the flashback scenes—excluding the transitions, of course.
What’s still on your dream to-do list?
I’d love to direct a huge action film one day. What defines a ‘hero’ to you? Someone who is unapologetically true to themselves. Who is yours? Jane Campion—such a boss.
Genesis
Genesis Webb, the 26-year-old fashion stylist behind some of Chappell Roan’s delightfully camp looks, made waves when she dressed the rising Pop star as not one but two feathered swans for her Jimmy Fallon performance of “Good Luck, Babe!” last year. Since then, she’s transformed the chart-topper into a Degas-infested princess, a rhinestone cowgirl, and a Victorian doll dipped in Alexander McQueen—while quietly becoming one of the most exciting new names in fashion. After moving to LA in 2020 with little more than a dream and a credit card balance, she carved a path in styling, quickly landing gigs—including one with Lady Gaga—that set her career in motion. Her creative partnership with Chapell has become a masterclass in visual storytelling: a blend of punk grit, drag maximalism, and theatrical flair that’s redefining Pop star image-making in real time. Yup, Genesis Webb is becoming your favourite stylist’s favourite stylist.
What’s your poison in the morning to kick-start the day?
Hot yoga. What’s your craft? I’m a lover and curator of art. What drives you to do it? It fulfils me to be in rooms with other creatives who know way more than me.
Are there any collections or references that you find yourself going back to when you’re feeling uninspired and need to get motivated?
Rick Owens Fall/Winter 2011 womenswear ‘Limo’ collection.
When you first start working with an artist, how do you tap into their core style?
The first and most important step is getting to know them and understanding their comfort levels and goals. For example, if they are established in another field, like an actress who wants to do music, then it’s about taking that persona and stripping it back to see what’s actually on ‘the inside.’
You and Chappell Roan have built a visual language that feels totally its own—what’s the creative shorthand between you two at this point?
It really depends on the project. We both equally have an understanding that she takes the reins on the overall creative and choices for the music projects, and then I translate, execute, and build within my own taste level. When it comes to editorials and things of that nature, she lets me run wild with it, which is very, very kind of her, as that’s where I really shine.
Is there one look you’ve done with her that felt like a real shift?
The MTV VMAs 2024—everything changed that day.
What’s the difference between dressing someone and building their image?
There shouldn’t be a difference.
What’s the most chaotic fitting or red carpet prep you’ve ever survived?
SNL was gnarly. She only had five minutes to change before stepping onto the stage for a live show. There was no room for error and all I could do was sew her in and hope for the best. Even at the Daily Front Row Awards, during the first speech, her dress ripped open and I had to pin and clip it from the back while we were sitting in our seats.
What’s your fashion guilty pleasure?
Dad shirts! I love the ones that say ‘Work harder and shut the fuck up’, ‘Stop complaining’, or ‘Relax I do this all the time.’
How do you approach styling in an age where every look is instantly dissected and memed?
To preface, I am totally fine with the memes as long as they stay as refined as possible. I think it’s funny! When people can look at something and be really discombobulated to the point where it becomes a meme, it’s impressive to me. I see it more as a win than anything.
What defines a ‘hero’ to you?
A hero is someone who is selflessly themselves yet somehow impacts the entire world in a way that moves a culture.
Who is yours?
I have a thousand—but [French film director] Leos Carax. He made me fall in love with film in a way I’ve never experienced before, and because of that, I started to see the beauty in everything.
Kwes Darko
Camden-based composer, audio architect, and immersive producer Kwes Darko possesses a dangerously sharp ear. He crafts atmospheric sonic landscapes so tangible you’ll feel one step away from buying a gaff there. Working with some of the capital’s hottest talent—from John Glacier to Sampha, Meekz to Pa Salieu, Obongjayar to Fontaines D.C.—his ability to blend everything from R&B to Electronic, Soul to Experimental, often spliced with glitchy textures and ambient synths, makes his name one that everyone in the game wants on their album tracklist. It’s no surprise that his production has become the secret sauce behind some of the most electrifying sounds to emerge from the UK right now.
What did you have for breakfast?
Nothing, as I don’t eat before 12PM, but for lunch, I had a chicken salad.
What’s your craft?
I’m an architect of sonic worlds, building audio universes for artists trying to find their space for true expression, and a guide of purpose for individuals seeking their true selves and path in life.
What drives you to do it?
[The ability to] discover new truths and languages through sound and music that can inspire me and others to connect and follow our own path—without fear of being ourselves in all forms. You can do it. You are seen. You are heard. You are enough and worthy of being who you want to be in this life.What’s inspiring your work right now?
Life and my surroundings are a constant inspiration, as well as travelling, conversations, film, and human behaviour. Right now, new life is inspiring my work a lot—I’m about to become a father for the first time, and that is unlocking new elements of myself that I have yet to explore.
What’s a track you’ve produced that you feel is underrated?
“LIL JIT” by PlayThatBoiZay ft. Kenny Mason.
If you could produce a full album for any artist, past or present, who would it be?
OutKast.
Who are some new producers you’re excited about right now?
There are a few, to be honest! Taylor Skye (@tayl0rskye), Ethan P. Flynn (@ethan_p._flynn), Jacob Bugden (@jacobbugden), Jim Legxacy (@ jim_legxacy), Joe Stanley (@joestanley3), .nathan. (@fullstopnathan), Rambo The Producer (@callme_rambo_), TR Gobrazy (@trgobrazy), TrapMoneyBiggie (@TrapMoneyBiggie), Cold (@intentionallycold), Jkarri (@jkarri_), Clearo (@clearooooo), nusar3000 (@nusar3000), Pablopablo (@pablopablo).
What’s been the biggest challenge you’ve faced in the music industry?
Getting paid for your time—and getting paid on time [laughs]. The biggest challenge, really, is keeping your blinkers on and not straying from the ‘why.’
What’s exciting you about the future of music?
The unknown! We’re in a very interesting era of music, and I find it exciting to see how the newer generations will find new ways to express themselves and develop their own musical language. There’s so much opportunity to innovate, and young minds are getting more and more tekky! New rhythmic patterns, cultural merging, and the evolution of a universal language through music.
What defines a ‘hero’ to you?
A person unwavering in the face of trials, tribulations, and obstacles— someone who continues to follow their calling, led by purpose, contributing to the world with no expectation of return, but simply a desire to be the change they want to see.
Who is yours?
Me!
Ramisha Sattar
Ramisha Sattar isn’t just in Chappell Roan’s world—she’s building it. The Pakistani-American creative director’s maximalist, camp-soaked vision has become the visual backbone of the chart-topper’s rise, a kaleidoscopic collision of satire, nostalgia, and Gen Z mischief. The DIY billboards that framed Chapell as a jobseeker during “The Giver” rollout? Ramisha. The cut-out paper dolls tucked into The Rise and Fall of a Midwest Princess LP sleeve? Ramisha. The moodboard-to-stage-to-merch pipeline that has turned the viral hitmaker into the industry’s most irreverent, referential, and hyper-stylised Popstar? You guessed it— Ramisha. In an era of manufactured virality, she’s giving us something different: world-building that feels personal, unruly, and—dare we say—historic.
How do you like your coffee in the morning?
I love my coffee iced and with a hint of vanilla or caramel.
What’s your craft?
I creative direct and design colourful and fun worlds for people to escape into!
What drives you to do it?
I love telling stories through playful visuals and getting to help craft a universe around the music and art that I consume.
What’s inspiring you right now?
What’s inspiring me right now is seeing the art other young Desi creatives around me are making, like Rhea Raj (@rhearaj), Lara Raj (@lararajj), Bhavya Ramesh (@bhavyaramesh), Rowi Singh (@rowisingh), Rupal Banerjee (@rup.al.b), and Zahra Omarji (@zahraomarji).
What’s your go-to creative process—organised genius or full on creative mess?
My creative process always starts very organised and thought out, but the further I get into the project, and the more fun I have, the messier it gets. I love bouncing between different softwares and mediums. A lot of my work also starts by hand! I love scanning different textures, cutting out things by hand and scanning them in, and manipulating colour on photographs with oil pastel! By the end of a project, my room is usually covered in glitter, paper scraps, and sheets of stickers!
How did you first get involved in working with Chappell Roan?
Chappell and I met on Instagram as fans of each other’s art. We had both followed each other for years and quickly became best friends after beginning to work together. We would spend days in a row having sleepovers, alternating between each other’s apartments, staying up late bedazzling costumes, designing graphics, and making merch together.
How has your collaboration with Chappell influenced your own creative approach?
I love working with Chappell because all of her ideas are so grand and feel like a dream. We’ve been able to make things together that we wouldn’t have been able to comprehend a couple years ago. I’ve also learned a lot about patience and trusting in my ideas.
What’s a project you’ve worked on that pushed you outside of your comfort zone?
As [Chapell’s album] The Rise and Fall of a Midwest Princess blew up over the past year, I was pushed outside of my comfort zone in the best way. I don’t think I ever could have imagined just how much the art we were making meant to people.
What has been the most rewarding part of your career so far?
All of 2024 was a dream, and so rewarding. It was really special to witness all the pivotal moments along the way. My favourite parts were the music festivals. Seeing how large the crowds were and how much the music meant to everybody, was so surreal.
What defines a ‘hero’ to you?
To me a hero is anyone who has helped me grow as a friend, an artist, or just as a person.
Who is yours?
My hero is my dad.
Sean Bankhead
If you’ve recently watched a music video detonate online, a Super Bowl performance make history, or an achingly moreish stage routine from your favourite hitmaker (erm, can we talk about Tate McRae’s dangerously addictive “Sports car” choreography?), chances are you’ve seen Sean Bankhead in motion. The Atlanta raised choreographer and creative director isn’t just behind the moves—he’s behind the moments. Moulding the on-stage identity of some of today’s biggest stars (think LISA, Tate McRae, Victoria Monét, Lil Nas X, Missy Elliott and more), pop culture’s appetite for his routines is becoming increasingly insatiable. His secret? Come on now, you really think he’d give that away?
Sleep in or wake up at sunrise?
I’m a night owl—I’m definitely sleeping in.
What’s your craft?
My craft is showing how to evoke emotion and communicate without words. I’m a musician of the body. At this point in my career, I essentially sell music. I get to create impactful moments in pop culture through dance.
What drives you to do it?
Simply put, I was born to do this. I don’t know much else about anything more than creating. I wake up with visions, and being as ambitious as I am, I have to act on them.
What’s the smartest move you’ve made in your career?
It has to be the fact that I never waited for anyone to give me an opportunity. Early on, I always found ways to open doors for myself. And if I couldn’t find a door, I created one. I always walked to the beat of my own drum. That, and staying in Atlanta.
You’ve worked with Normani, Cardi B, Tate McRae, Lil Nas X… How do you shape movement to match an artist’s energy?
I like to think that I’m a choreographer who watches, listens to, and studies every artist I work with. Each is unique in their own right—not only musically but creatively. They all have their own stories. I don’t go into the studio and tell them what to do. I watch them, catch their vibe, and amplify them to the highest level.
What was your creative vision for Tate McRae’s “It’s ok I’m ok” music video choreography?
Pop goddess. Sass. Cunt. Bad bitch. Real dance. Dominant. Hairography. Fresh.
Many of your choreographed routines have gone viral. What’s the secret to a dance hitting that cultural nerve?
Honestly, that’s probably better answered by the public [laughs]. To be honest, I just swing hard and hope I hit each time I create. I do have a secret formula when I choreograph, but I keep that dear to my heart. Another key factor is my extensive teaching background—it has allowed me to create with all levels of dance skill in mind.
What’s your proudest achievement?
The fact that I’m still going—creating, having an impact on the world. I’m proud of my creations. And, keeping myself as humble as possible.
What’s your GOAT dance routine in music history?
That’s too hard to pinpoint, but probably anything by Janet Jackson.
What’s the one thing every up-and-coming dancer and choreographer needs to hear?
There’s already a Sean Bankhead. Meaning, find who ‘you’ are—your style, your identity. You can be inspired by other creatives, but make sure you develop your signature style and create your own lane! Stay true to your visions. Someone out there will love you for you.
Who’s still on your dream list to choreograph for?
As always, Janet Jackson.
What defines a ‘hero’ to you?
I think a hero is someone who has not only inspired me through the highs of their life, but who has also faced the lows with grace and dignity—holding their head high and remaining a decent human being through it all. Someone who still motivates me to do the same.
Who is yours?
In this stage in my life, my hero is myself.
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From stylists to music producers, creative directors to choreographers: meet the people bringing your favourite things to life: the Unsung Heroes.
Pop culture is loud. Shiny. Unrelenting.And somewhere just to the left of all that noise are the people actually making it work. Meet Wonderland’s Unsung Heroes, the ones who make it look easy—without ever being seen. The stylists, producers, directors, choreographers, casting agents, and miracle-workers who build the mood, sculpt the sound, and nudge everything into relevance. They don’t ask for credit (though, frankly, they should). They’re busy backstage with safety pins in their teeth, fine-tuning beats on no sleep, translating vague celebrity texts into full-blown concepts. Their fingerprints are all over the culture we consume—if you know where to look.
Livia Rose-Johnson
Brooklyn-born Livia Rose-Johnson is the kind of creative who resists definition—because she’s too busy reshaping it. A cultural curator with the range to match the title, she casts, produces, writes, makes music, and creates fine art, all with a sharp instinct and unapologetic sense of purpose. At just 19, she launched her casting agency, Multii Media (@Multiimedia), and since then, she’s cast Grammy-nominated visuals with Asake and Wizkid, brought vision to Skrillex and A$AP Mob, and built out campaigns for Instagram, Soho House, and more. Her work doesn’t follow trends—it builds frameworks. In her world, representation isn’t the add-on, it’s the blue print—and she’s making it ours too.
What gets you out of bed in the morning?
To be real, sometimes I don’t—and I’ve learned not to be ashamed of that. I’m unlearning burnout culture and embracing rest as power.
What’s your craft?
I’m a cultural curator—the evolved version of the connector—I cast, produce, curate, write, make music, and create fine art—all in service of building culture. I started my agency at 19. By 20, I’d raised almost six figures reimbursed through culture and nonprofit work.
Why do you do it?
I’m familiar with the feeling of exclusion in spaces I knew I belonged in—so I wrote myself into the narratives that shaped them.How do you approach your creativity with diverse representation? Representation isn’t a layer I add—it’s the ground I build from. Whether I’m casting, producing, or making art, I start by asking: Why do we assume this person, place, or idea belongs here? And then I challenge it. I want people to feel something new. When we emulate, we erase. But when we create from truth that only genuine representation can articulate, we open space for others to feel seen—maybe for the first time.
What’s your proudest project so far?
Kiss to Time—my curatorial debut—is my heart. It brought together 50+ creatives from my community in a self-funded, week-long shoot that honours the beauty of trying, not just winning. Casting Asake x Wizkid in one day—my first London project and Grammy-nominated credit—showed me the power of trusting my instinct. And the Tia, Corinne & Bloom party? A Fashion Week built fusing luxury cannabis, AI, and community. Now, I’m stepping into music with my debut single…This next chapter? It’s all me—louder, freer, and more expansive than ever.
What’s the biggest challenge in changing the creative industry?
The industry is full of contamination—I’ve watched raw, real, brilliant creatives become manufactured versions of themselves. The real challenge is making sure I’m the same person I was when I started the race to the finish line.
Who do you dream about collaborating with?
Rihanna. Period. She’s the blueprint for building an empire without losing essence—and I will work with her. Doechii’s doing incredible things. Doja Cat? I’d love to cast for her again. Zendaya too—whether casting or collaborating. I’ve also been watching Mowalola a lot and the New Gen girls.
How do you see the future of casting and all your creative pursuits evolving?
Casting and culture creation is world-building—it’s about perspective, not just presence. I see the future leaning into raw resonance: real people, real stories, real energy.
What defines a ‘hero’ to you?
A hero expands your worldview—triggers something in you that shifts how you see everything. They don’t just talk about change—they live it.
Who is yours?
My grandmother is my hero, she faced challenges that weren’t always fair, but she lived by the golden rule of treating others the way you want to be treated. And then, of course, Rihanna. She’s a fucking boss.
Jessica Lee Gagné
From the moment she can remember, Jessica Lee Gagné was surrounded by the flicker of VHS tapes in her dad’s video store in Quebec City. It was there that her love for cinema took hold—especially European films, thanks to her mum’s singular taste. Fluent in four languages, she speaks one best: the syntax of a perfectly framed shot. She picked up a 35mm camera in high school and never put it down.Two decades later, she’s still behind the lens—only now, she’s calling the shots asa director. Her Severance debut, episode seven, “Chikhai Bardo,” set the internet ablaze, hailed as a devastating masterpiece. Now, the question isn’t if she’ll return to the director’s chair, it’s when. Watch this space.
What’s the first thing you do when you roll out of bed?
Run across my bedroom to turn off my alarm—if it were next to my bed,I’d probably snooze all day. These days, I’m also trying to go straight into meditating when I wake up.
What’s your craft?I’ve been a cinematographer for 15 years, but I’m right in the middle of transitioning to directing. What I love most is creating original cinematic languages and building entire worlds.
What drives you to do it?
I love languages—I actually learn them for fun. I speak English, French, Spanish, and I’m currently learning Russian. But my favourite language is cinema. I find this art form is the ultimate tool for communication. Coming up with shots that speak metaphorically excites me every day at work.
What film has shaped you as a cinematographer?
Kluteby Alan J. Pakula, shot by the great Gordon Willis. To me, it’s one of the best examples of 1970’s New York filmmaking. It’s so timeless—it holds up against anything being shot today.
Is there a project that almost broke you, but you’re glad you did it?
I don’t think a project has ever come close to breaking me, but I’ve worked on very challenging productions that made me question whether I wanted to stay in the industry. The sacrifices we make to create films are undeniable—especially as a woman. It’s incredibly difficult to take care of your personal life when you’re completely immersed in making these shows.
What’s the one thing you always bring to set, no matter what?
My script binder—it has all of my notes on how we’re shooting things.
Your directorial debut, episode seven of Severance season two, blew up. How did that make you feel?
I definitely wasn’t expecting that kind of response. I actually called Ben a couple of weeks before it came out, freaking out because I was afraid some people might hate it or not get it. He helped me through the transition to directing. He said that once something is released into the world, you have to let it go—it becomes what people see in it. When the response was so positive, I was obviously relieved and grateful, but also excited that audiences are open to this kind of filmmaking. People want to see highly crafted work that demands their attention.
What’s the one shot in your episode that still sticks with you?
The close-up on Gemma after she announces her pregnancy to Devon, which then transitions to the miscarriage scene—for me, that’s the most powerful shot of the episode. So many of these transitions were about moving through time or life fluidly. I believe there’s a space outside of time where everything is happening all at once, and with these kinds of shots, I was playing with that idea.
What was the toughest part of directing in a world so off-kilter?
Specifically for episode seven, the biggest challenge was creating the language of the past. You want it to feel completely different, but it still has to be part of the same show. I focused on simple, essential filmmaking for the flashback scenes—excluding the transitions, of course.
What’s still on your dream to-do list?
I’d love to direct a huge action film one day. What defines a ‘hero’ to you? Someone who is unapologetically true to themselves. Who is yours? Jane Campion—such a boss.
Genesis
Genesis Webb, the 26-year-old fashion stylist behind some of Chappell Roan’s delightfully camp looks, made waves when she dressed the rising Pop star as not one but two feathered swans for her Jimmy Fallon performance of “Good Luck, Babe!” last year. Since then, she’s transformed the chart-topper into a Degas-infested princess, a rhinestone cowgirl, and a Victorian doll dipped in Alexander McQueen—while quietly becoming one of the most exciting new names in fashion. After moving to LA in 2020 with little more than a dream and a credit card balance, she carved a path in styling, quickly landing gigs—including one with Lady Gaga—that set her career in motion. Her creative partnership with Chapell has become a masterclass in visual storytelling: a blend of punk grit, drag maximalism, and theatrical flair that’s redefining Pop star image-making in real time. Yup, Genesis Webb is becoming your favourite stylist’s favourite stylist.
What’s your poison in the morning to kick-start the day?
Hot yoga. What’s your craft? I’m a lover and curator of art. What drives you to do it? It fulfils me to be in rooms with other creatives who know way more than me.
Are there any collections or references that you find yourself going back to when you’re feeling uninspired and need to get motivated?
Rick Owens Fall/Winter 2011 womenswear ‘Limo’ collection.
When you first start working with an artist, how do you tap into their core style?
The first and most important step is getting to know them and understanding their comfort levels and goals. For example, if they are established in another field, like an actress who wants to do music, then it’s about taking that persona and stripping it back to see what’s actually on ‘the inside.’
You and Chappell Roan have built a visual language that feels totally its own—what’s the creative shorthand between you two at this point?
It really depends on the project. We both equally have an understanding that she takes the reins on the overall creative and choices for the music projects, and then I translate, execute, and build within my own taste level. When it comes to editorials and things of that nature, she lets me run wild with it, which is very, very kind of her, as that’s where I really shine.
Is there one look you’ve done with her that felt like a real shift?
The MTV VMAs 2024—everything changed that day.
What’s the difference between dressing someone and building their image?
There shouldn’t be a difference.
What’s the most chaotic fitting or red carpet prep you’ve ever survived?
SNL was gnarly. She only had five minutes to change before stepping onto the stage for a live show. There was no room for error and all I could do was sew her in and hope for the best. Even at the Daily Front Row Awards, during the first speech, her dress ripped open and I had to pin and clip it from the back while we were sitting in our seats.
What’s your fashion guilty pleasure?
Dad shirts! I love the ones that say ‘Work harder and shut the fuck up’, ‘Stop complaining’, or ‘Relax I do this all the time.’
How do you approach styling in an age where every look is instantly dissected and memed?
To preface, I am totally fine with the memes as long as they stay as refined as possible. I think it’s funny! When people can look at something and be really discombobulated to the point where it becomes a meme, it’s impressive to me. I see it more as a win than anything.
What defines a ‘hero’ to you?
A hero is someone who is selflessly themselves yet somehow impacts the entire world in a way that moves a culture.
Who is yours?
I have a thousand—but [French film director] Leos Carax. He made me fall in love with film in a way I’ve never experienced before, and because of that, I started to see the beauty in everything.
Kwes Darko
Camden-based composer, audio architect, and immersive producer Kwes Darko possesses a dangerously sharp ear. He crafts atmospheric sonic landscapes so tangible you’ll feel one step away from buying a gaff there. Working with some of the capital’s hottest talent—from John Glacier to Sampha, Meekz to Pa Salieu, Obongjayar to Fontaines D.C.—his ability to blend everything from R&B to Electronic, Soul to Experimental, often spliced with glitchy textures and ambient synths, makes his name one that everyone in the game wants on their album tracklist. It’s no surprise that his production has become the secret sauce behind some of the most electrifying sounds to emerge from the UK right now.
What did you have for breakfast?
Nothing, as I don’t eat before 12PM, but for lunch, I had a chicken salad.
What’s your craft?
I’m an architect of sonic worlds, building audio universes for artists trying to find their space for true expression, and a guide of purpose for individuals seeking their true selves and path in life.
What drives you to do it?
[The ability to] discover new truths and languages through sound and music that can inspire me and others to connect and follow our own path—without fear of being ourselves in all forms. You can do it. You are seen. You are heard. You are enough and worthy of being who you want to be in this life.What’s inspiring your work right now?
Life and my surroundings are a constant inspiration, as well as travelling, conversations, film, and human behaviour. Right now, new life is inspiring my work a lot—I’m about to become a father for the first time, and that is unlocking new elements of myself that I have yet to explore.
What’s a track you’ve produced that you feel is underrated?
“LIL JIT” by PlayThatBoiZay ft. Kenny Mason.
If you could produce a full album for any artist, past or present, who would it be?
OutKast.
Who are some new producers you’re excited about right now?
There are a few, to be honest! Taylor Skye (@tayl0rskye), Ethan P. Flynn (@ethan_p._flynn), Jacob Bugden (@jacobbugden), Jim Legxacy (@ jim_legxacy), Joe Stanley (@joestanley3), .nathan. (@fullstopnathan), Rambo The Producer (@callme_rambo_), TR Gobrazy (@trgobrazy), TrapMoneyBiggie (@TrapMoneyBiggie), Cold (@intentionallycold), Jkarri (@jkarri_), Clearo (@clearooooo), nusar3000 (@nusar3000), Pablopablo (@pablopablo).
What’s been the biggest challenge you’ve faced in the music industry?
Getting paid for your time—and getting paid on time [laughs]. The biggest challenge, really, is keeping your blinkers on and not straying from the ‘why.’
What’s exciting you about the future of music?
The unknown! We’re in a very interesting era of music, and I find it exciting to see how the newer generations will find new ways to express themselves and develop their own musical language. There’s so much opportunity to innovate, and young minds are getting more and more tekky! New rhythmic patterns, cultural merging, and the evolution of a universal language through music.
What defines a ‘hero’ to you?
A person unwavering in the face of trials, tribulations, and obstacles— someone who continues to follow their calling, led by purpose, contributing to the world with no expectation of return, but simply a desire to be the change they want to see.
Who is yours?
Me!
Ramisha Sattar
Ramisha Sattar isn’t just in Chappell Roan’s world—she’s building it. The Pakistani-American creative director’s maximalist, camp-soaked vision has become the visual backbone of the chart-topper’s rise, a kaleidoscopic collision of satire, nostalgia, and Gen Z mischief. The DIY billboards that framed Chapell as a jobseeker during “The Giver” rollout? Ramisha. The cut-out paper dolls tucked into The Rise and Fall of a Midwest Princess LP sleeve? Ramisha. The moodboard-to-stage-to-merch pipeline that has turned the viral hitmaker into the industry’s most irreverent, referential, and hyper-stylised Popstar? You guessed it— Ramisha. In an era of manufactured virality, she’s giving us something different: world-building that feels personal, unruly, and—dare we say—historic.
How do you like your coffee in the morning?
I love my coffee iced and with a hint of vanilla or caramel.
What’s your craft?
I creative direct and design colourful and fun worlds for people to escape into!
What drives you to do it?
I love telling stories through playful visuals and getting to help craft a universe around the music and art that I consume.
What’s inspiring you right now?
What’s inspiring me right now is seeing the art other young Desi creatives around me are making, like Rhea Raj (@rhearaj), Lara Raj (@lararajj), Bhavya Ramesh (@bhavyaramesh), Rowi Singh (@rowisingh), Rupal Banerjee (@rup.al.b), and Zahra Omarji (@zahraomarji).
What’s your go-to creative process—organised genius or full on creative mess?
My creative process always starts very organised and thought out, but the further I get into the project, and the more fun I have, the messier it gets. I love bouncing between different softwares and mediums. A lot of my work also starts by hand! I love scanning different textures, cutting out things by hand and scanning them in, and manipulating colour on photographs with oil pastel! By the end of a project, my room is usually covered in glitter, paper scraps, and sheets of stickers!
How did you first get involved in working with Chappell Roan?
Chappell and I met on Instagram as fans of each other’s art. We had both followed each other for years and quickly became best friends after beginning to work together. We would spend days in a row having sleepovers, alternating between each other’s apartments, staying up late bedazzling costumes, designing graphics, and making merch together.
How has your collaboration with Chappell influenced your own creative approach?
I love working with Chappell because all of her ideas are so grand and feel like a dream. We’ve been able to make things together that we wouldn’t have been able to comprehend a couple years ago. I’ve also learned a lot about patience and trusting in my ideas.
What’s a project you’ve worked on that pushed you outside of your comfort zone?
As [Chapell’s album] The Rise and Fall of a Midwest Princess blew up over the past year, I was pushed outside of my comfort zone in the best way. I don’t think I ever could have imagined just how much the art we were making meant to people.
What has been the most rewarding part of your career so far?
All of 2024 was a dream, and so rewarding. It was really special to witness all the pivotal moments along the way. My favourite parts were the music festivals. Seeing how large the crowds were and how much the music meant to everybody, was so surreal.
What defines a ‘hero’ to you?
To me a hero is anyone who has helped me grow as a friend, an artist, or just as a person.
Who is yours?
My hero is my dad.
Sean Bankhead
If you’ve recently watched a music video detonate online, a Super Bowl performance make history, or an achingly moreish stage routine from your favourite hitmaker (erm, can we talk about Tate McRae’s dangerously addictive “Sports car” choreography?), chances are you’ve seen Sean Bankhead in motion. The Atlanta raised choreographer and creative director isn’t just behind the moves—he’s behind the moments. Moulding the on-stage identity of some of today’s biggest stars (think LISA, Tate McRae, Victoria Monét, Lil Nas X, Missy Elliott and more), pop culture’s appetite for his routines is becoming increasingly insatiable. His secret? Come on now, you really think he’d give that away?
Sleep in or wake up at sunrise?
I’m a night owl—I’m definitely sleeping in.
What’s your craft?
My craft is showing how to evoke emotion and communicate without words. I’m a musician of the body. At this point in my career, I essentially sell music. I get to create impactful moments in pop culture through dance.
What drives you to do it?
Simply put, I was born to do this. I don’t know much else about anything more than creating. I wake up with visions, and being as ambitious as I am, I have to act on them.
What’s the smartest move you’ve made in your career?
It has to be the fact that I never waited for anyone to give me an opportunity. Early on, I always found ways to open doors for myself. And if I couldn’t find a door, I created one. I always walked to the beat of my own drum. That, and staying in Atlanta.
You’ve worked with Normani, Cardi B, Tate McRae, Lil Nas X… How do you shape movement to match an artist’s energy?
I like to think that I’m a choreographer who watches, listens to, and studies every artist I work with. Each is unique in their own right—not only musically but creatively. They all have their own stories. I don’t go into the studio and tell them what to do. I watch them, catch their vibe, and amplify them to the highest level.
What was your creative vision for Tate McRae’s “It’s ok I’m ok” music video choreography?
Pop goddess. Sass. Cunt. Bad bitch. Real dance. Dominant. Hairography. Fresh.
Many of your choreographed routines have gone viral. What’s the secret to a dance hitting that cultural nerve?
Honestly, that’s probably better answered by the public [laughs]. To be honest, I just swing hard and hope I hit each time I create. I do have a secret formula when I choreograph, but I keep that dear to my heart. Another key factor is my extensive teaching background—it has allowed me to create with all levels of dance skill in mind.
What’s your proudest achievement?
The fact that I’m still going—creating, having an impact on the world. I’m proud of my creations. And, keeping myself as humble as possible.
What’s your GOAT dance routine in music history?
That’s too hard to pinpoint, but probably anything by Janet Jackson.
What’s the one thing every up-and-coming dancer and choreographer needs to hear?
There’s already a Sean Bankhead. Meaning, find who ‘you’ are—your style, your identity. You can be inspired by other creatives, but make sure you develop your signature style and create your own lane! Stay true to your visions. Someone out there will love you for you.
Who’s still on your dream list to choreograph for?
As always, Janet Jackson.
What defines a ‘hero’ to you?
I think a hero is someone who has not only inspired me through the highs of their life, but who has also faced the lows with grace and dignity—holding their head high and remaining a decent human being through it all. Someone who still motivates me to do the same.
Who is yours?
In this stage in my life, my hero is myself.
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