VP, Executive Creative Director | STITCH FIX



1. What was your very first job? What does it feel like to look back at it now?  I started early on — was a paperboy (and, for the record, not the rapper). The routine was getting up at 4:30am to grab the delivery, assemble the papers and then get on my bike as the sun was coming up to hand out the goods. In retrospect, it's not terribly different from what I do today…it's just that it's all on an iPhone now. Oh, and the bike is stationary.   2. Please describe, in your own words, what your current job is and what work it entails. I'm the Executive Creative Director at Stitch Fix, effectively overseeing how our brand shows up in the world at every touchpoint. It's an interesting cocktail: two parts visionary, two parts internal champion, a jigger of process discipline and a tall pour of relationships & communication. If any of these starts to lag the whole operation suffers…which happens more frequently than I'd care to admit.  3. How did you discover that the creative world is right for you? Was there a time in your life that you credit to this discovery? Which train of events did bring you to where you are today?I'd dabbled in multimedia, music editing and video editing in the mid-90s but it was when Netscape Navigator went into beta 2 of 2.0 that everything turned on for me. I was with a friend of mine who was producing an alternative music magazine (Citi:Zen) distributed across Northern California. But printing costs were going up, and he needed a different way of distributing something amazing. No one knew how to make anything on the web, per se, but we figured it out with a blend of publishing, experience design and a bit of cool factor as well. We launched Citi:Zen Online with an animated homepage backed by Fatboy Slim's Everybody Loves a 303, and immediately got a lot of national attention. This is how we started getting hunted by a number of brands that wanted us to do the same type of work for them. But it's how my entire career got activated: taking the initiative to figure something out and building an enterprise around it. That led me to the agency world to work on big, global brands, and then into the client-side and how to build big, global brands from the ground up.   4. In your constantly growing and expanding industry, how and where do you usually find inspiration to keep your work fresh, innovative and relevant? The answer has to be everywhere. Culture is moving so rapidly and springing to life in every medium that you have to stay tuned into everything that's interesting. So I find myself constantly consuming even in little bits in order to know what's hot at any moment. And, of course, keeping relationships with lots of people inside and outside my organization that can keep me updated from another perspective as well. 5. If you had to pick one piece of work or project that you are most proud of, especially for the creative work and innovation it required rather than its recognition or industry success, what would it be? The global rebrand of Hewlett Packard, under the handle of Human Progress. Every bit of that program — a comprehensive global system that touched positioning, identity, product & digital design and our communications and culture as well — was exceptionally well crafted and showed the expansive excellence expected by a modern digital-age brand. And the logo, four slashes in the silhouette of an h and p, was the most perfect embodiment of our brand's strategic intent.  6. Which creative disciplines do you commission most, and are most interested in seeing more of? (ie photo, film, social, experiential, vr, etc) Film, film and film. It's not that everything else is irrelevant, but every part of film — from motion design and data visualization to live storytelling and lifestyle moments — is now becoming the core of what we deliver to the world. But it's also a medium that brings together so many other disciplines that it becomes the spine for everything that we produce.



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