CI You have a background in model-making and special effects. What led you to nails? 

SM I studied technical arts and special effects, and each term I learned a different skill. I found model-making the most interesting and I thought I’d work in film, but in film, things are so separate: you’re either on the design team or the making team. Also, you’d think you’d get a fantasy element, but you’re often trying to create pure realism. I found more of that fantasy element in fashion because it’s about a world, a moodboard, a general idea, rather than realism. I worked in model-making for a while and went from props to bigger things like set design. I loved being on set and being able to create a feeling. The problem with set design is the bigger you get in the industry, the less making you do. I thought, how did I go from wanting to make beautiful, small things, to filling vans and working out logistics? I was trying to find a middle ground and in the middle of this Venn diagram were nails, where I found a little niche for myself. I love it. I love the social aspect; I love the way it makes people feel; I love what it does to models. Models can’t see their hair and makeup unless they’re in front of the mirror, but they can see their hands, and nails help them to know which bitch they are that day. People are self-conscious about their feet and hands as well, so it really helps models to move beautifully and show off parts of their bodies they may not feel so great about. 

CI What was your first nail job? 

SM I think my first ever editorial might have been for TANK! A full-circle moment. We did some simple nails on that shoot; Dexter Lander shot it a really long time ago. I started off with private clients and kept the Instagram rolling with different ideas that I had, and it all picked up. I was in the right place and time with the right skill set. It was when things were starting to pop off with nails in the UK and people wanted weirder designs. It probably popped off faster than I had the infrastructure for. I did my first show without having assisted on a show before, which was a huge jump into the deep end. 

CI You have been involved in some truly iconic visual moments over the past couple of years: the Burberry campaign with Shygirl and last year with runner Keely Hodgkinson holding up her 800m gold medal at the Olympics, being part of her historic moment. It feels like nails are no longer overlooked. Why have they become so central? 

SM Nails have been popular in the US for ages, largely because of innovations of black, Asian and Hispanic communities; Europe’s been a bit slow to catch up. Our problem in Europe is that our idea of chicness and fashion and beauty have come from Paris for so long, where they don’t enjoy a crazy nail. [Thierry] Mugler was the only designer back in the day to do something interesting with nails. During the 2008 recession, nails were one of the only industries that did well, because people couldn’t afford bigger luxuries – maybe you can’t go on holiday, but getting your nails done gives you a moment of autonomy. You create a sort of fantasy version for yourself. After 2008, people started to understand the money that can be made in nails. It’s been a slow burn and it’s not for everyone, but it’s been great to see people play with them. They’re temporary, too: you can do something crazy one week and do nothing the next week. You see them all day too, which may not be true of your hair or makeup. 

CI How did the Keely Hodgkinson moment happen? 

SM Keely was amazing; she’s so inspiring. Having worked with a few other athletes and female bodybuilders, I would be so happy if my nail career was just doing that. Their dedication is just unmatched, and Keely was so impressive. It was great working with her, and I was so pleased to be even a minuscule part of her amazing day. 

CI  It didn’t cross my mind that nails could be such an important piece of that iconic shot of crossing the finish line for gold, and yet... duh!  

SM Florence Griffith Joyner, who is still technically the fastest woman on earth, is one of the biggest nail icons in history. Those images of her hands on the track ready to start are just so incredible. I love those photos of Florence’s nails because some days they’re all pristine and perfect, but there are other photos where half of them are broken off. It’s real – it’s a product of her dedication and getting the job done. 

CI You love finding small, hard surfaces to express yourself, as seen in your recent project making seashell candelabras. Tell me about the genesis of that, and how that has become another mode of expression for you. 

FA Nails in fashion are here today and completely gone tomorrow. They bring joy, but they don’t last for very long, so I started making things for myself. I wanted a nice candelabra for my table and I had some pieces of wood, some brass and ceramic resin. I was like, maybe I’ll make a little shell candelabra for myself, so I made one and all of these fashion girlies were like, “Where did you get that?” I said, “Well, how much do you want one?” It was the Covid-19 summer, so I started making them and it all began from there. Acne Studios got in touch because they wanted some bigger ones. I’ve just finished two commissions, one that’s gone to Belgium, another that’s on its way to Nigeria. I’ve been working with obsidian, and I’m about to make some with coral. It’s so nice to delve into interiors. I’ve been doing nails for eight years now and it’s fun to make something that’s a bit more permanent. .