[Digital Consultancy heading]

• I set up and ran a Ghanaian fusion street food restaurant in Tottenham, North London. I owned every aspect of operations and management: the physical build including plumbing, electrics, gas, kitchen install and waste management, plus digital infrastructure, branding, interior design, menus, staffing, logistics, compliance and health and safety.
• Hundreds of moving parts and constant, minute-by-minute problem solving.
• Aunties opened in October 2025 and launched officially in December. I secured a 5-star hygiene rating from the local council, with no issues raised in the inspection. I left in March 2026 having delivered what I said I would.

What was different once I was engaged: I took something that existed as a concept and brought it into living reality. Order built from genuine chaos. A brand with its own identity, carried through everything from the interior and menus to its digital presence.

• When the German division of Sky Creative closed and its work folded into the UK agency, I was the first hire for the new team, which let me shape how the creative and production teams worked. I was the only consultant within the team.
• I set up digital production processes and optimised creative output for all the digital work-streams on Sky Germany and WOW (NOW for the German market).
• I wrote the documentation and guidelines for the wider team to work from, which gave everyone a uniform way of working.

What was different once I was engaged: I connected the dots between the business units at the client end which meant that briefs were always delivered in the same way and the creative and production teams worked from one set of processes.

• Lyphe is one of the largest medical cannabis companies in Europe.
• I joined as an external consultant to help bring order to its suite of companies: The Medical Cannabis Clinics, The Academy of Medical Cannabis (training doctors to prescribe), Dispensary Green (a pharmacy for fulfilling prescriptions) and NOORO (the UK's first CBD snack bar with nootropics).
• I worked on the branding and digital platform for each and started thinking about how they could become a more cohesive ecosystem.

What was different once I was engaged: Four separate businesses, each with a clear brand identity and a digital platform to sit on. As well as the beginnings of a connection between them all.

• I was contracted by Universal Music Group to run the Access All Areas platform as a consultant once the relationship had ended with Anomaly London.
• This gave me a great insight into the innermost workings of a large entertainment business.
• I also consulted on various internal projects for the label.

What was different once I was engaged: The platform kept running from inside the label itself, extending the life of the format. I was able to work more efficiently with the teams once I was working directly for the organisation.

• I was hired to bring a series of digital platform ideas to life for Universal Music Group. Six were shortlisted and one, Access All Areas, went to market. It was a new release format as physical album sales fell to streaming: a CD in premium packaging with a lanyard whose code unlocked a website acting as a digital magazine, gathering exclusive content and everything about the artist in one place.
• The box also held limited edition art cards, posters, merchandise, access to ticket presales and a digital download. It went live for Ellie Goulding, Rod Stewart, Andrea Bocelli, The Vamps and 5 Seconds of Summer.
• I ran every aspect from conception to multi-market launch.

What was different once I was engaged: A project taken from slides in a deck to existing as a physical product, in reality. A new way for the label to release music and a new way for superfans to engage with their favourite artists.

• I was hired as a senior digital producer, running projects from websites and digital campaigns to edge case technology using augmented reality. I went on to become Joint Head of Digital alongside another senior producer.
• I was used extensively to bridge the gap between the creative and production departments, shaping ideas and helping bring innovative projects to life at a time when agencies were rushing into digital and ideas often hadn't been sanity checked.
• I also set up and ran a partnership with art colleges running interaction design courses to find young talent for internships in the creative department. This included an event showcasing final year projects from five designers from Central Saint Martins, the Royal College of Art and Ravensbourne.

What was different once I was engaged: Ideas were sanity checked before they were built and the creative and production departments worked more seamlessly. The agency also gained a new route to finding young digital talent.