Image Architect Law Roach Shares His Life In Fashion
My love of fashion got me into styling. Growing up, I was obsessed with old movies, vintage magazines and the way people used clothes to tell stories. What drew me to styling was the power of fashion to transform. I’ve always been fascinated by how clothes can shape identity and change the way people see themselves – and how the world sees them. Styling gave me the chance to help people tell their story. It’s not just about clothes: it’s about confidence, power and self-expression.
My first fashion memory is watching old Hollywood movies with my mom. Seeing those glamorous gowns, sharp suits and the way the stars carried themselves – it felt magical. I remember being mesmerised by the elegance and the power. That’s when I realised fashion wasn’t just about clothes – it was about identity, attitude, and storytelling. Those images sparked something inside me that’s never left.
A stylist picks out clothes, an image architect builds an identity. Styling is about selecting the right pieces for a certain event or moment. An image architect thinks deeper. It’s about understanding who someone is, who they want to be and crafting a consistent story through the fashion, grooming and attitude. Its strategy, artistry and psychology all rolled into one.
There have been so many unforgettable moments in my career but a few stand out. Seeing how Zendaya has moved from being a young Disney star to a true fashion icon – that’s been incredible. Moments like the Met Gala, when she’s changing the conversation about style and identity – those are huge. Another was styling Celine Dion and seeing her embrace a bold, new fashion persona was inspiring. Every time I help someone step into their power and change how the world sees them, that feels like a win. Attending the Met Gala this year was electric. The whole night was a celebration of boldness, individuality and redefining masculinity through fashion. There’s always so much pressure around events like that, but also freedom to experiment. Seeing the incredible creativity on the carpet reminded me why fashion is such a powerful form of self-expression.
Zendaya’s style journey is one we’ve been intentional about from the beginning. When Zendaya was starting out, we knew we wanted to use fashion as a tool to help people see her in a different light – not just a Disney star but a young woman with range, intelligence and taste. Every look has been a moment. The evolution isn’t just about wearing designer clothes – it’s about transformation, maturity and power. One day she can be a 1940s screen siren, the next a futuristic warrior and it never feels like costume – it feels authentic because she’s fearless and she trusts the process.
One person I always enjoy watching on the carpet is Rihanna. She’s fearless. It’s not just about the clothes – it’s about embodying them, and she always brings that confidence and energy. Tilda Swinton is another one – her style is so intellectual and otherworldly. It’s not trendy, it’s timeless. I really respect when someone works with a stylist but still looks like themselves – that balance is rare.
I’ve been blessed to work with so many incredible designers. The ones I love most are the ones who understand the power of collaboration. When Pierpaolo Piccioli was at Valentino – that was a dream. He understood how to make women feel ethereal and powerful at the same time. I also have a deep appreciation for Vivienne Westwood’s legacy – there’s drama, there’s history, there’s edge. And of course, Donatella Versace has always supported bold statements and unapologetic glamour. I love when a designer isn’t afraid to take risks with me because that’s when the real magic happens.
Preparation for a look starts long before the red carpet. I always start by asking: what’s the project? What’s the message? What do we want to say with fashion? For a press junket, it’s about consistent variety – we’re building a visual narrative over several looks. For a premiere, it’s about that one big statement. I research the film, look at the location, the carpet colour, even the time of day. Then I start pulling pieces from designers whose work aligns with the vibe. I also talk to my client to find out how they want to feel. Once we land on the concept, everything from the dress to the jewellery to the glam is curated around that. Nothing is accidental.
My own style is also fluid, emotional and rooted in storytelling. I don’t really follow trends – I follow feelings. One day, I might be giving full vintage Saint Laurent, the next I’m in something modern and minimal. I’m inspired by icons, archives and moments in fashion history. I love drama, tailoring, and anything that feels intentional. I dress based on who I want to be that day. Style is about power – what you wear can change the vibe in the room without you saying a word. That’s what I aim for.
The best piece of style advice I ever heard was don’t let the clothes wear you, you wear the clothes. It reminded me that confidence is the most important part of the equation. You can be in head-to-toe couture but if you don’t believe in what you're wearing, it’ll never land. It also taught me to dress people from the inside out. It’s not just about how it looks, it’s about how it feels. When a client puts something on and immediately stands taller, that’s when I know we’ve got it right.
I don’t believe in a lot of 'fashion rules' like don’t mix prints, dress for your body type – throw all that out. Fashion should be fun, personal and expressive. But if I had to give a rule, it’s wear what makes you feel powerful – whether that’s a gown or a tracksuit. And be intentional. Don’t just wear something because it’s trendy or expensive – know your 'why.' That’s when fashion becomes stylish.
My inspiration comes from everywhere – vintage archives, old Hollywood, street style, art, music and the energy of the people around me. I’m obsessed with fashion history. I spend a lot of time looking at magazines, photographs and runway shows from past decades. There is so much wisdom and drama in those moments.
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Right now, I’m really excited by the new generation of designers who aren’t afraid to break rules. Telfar Clemens is challenging what luxury means – I’ve been watching him for years, so it's not exactly underground anymore, but it started as a disruptor brand. I also love Thebe Magugu from South Africa – his work is so thoughtful, blending heritage with modernity. Another brand I’m excited about is Peter Do – clean, sharp tailoring with a fresh perspective – and I’m always keeping an eye on smaller labels in London and New York that are rewriting the rules on gender and identity through fashion. I love Richard Quinn’s bold prints and theatrical shows.
A challenge stylists face today is balancing creativity with the pace and demands of the industry. There’s so much content between social media, red carpets and campaigns, so pressure to always deliver something fresh can be intense. It’s easy to get lost in trends instead of focusing on true storytelling. Another challenge is navigating the commercial side – working with brands, sponsors and clients while protecting your artistic vision. Stylists have to be diplomats and strategists, not just creative minds. I also think behind-the-scenes representation and diversity needs more work. Stylists from different backgrounds should have more opportunities and recognition because diversity enriches the whole narrative. That said, it still feels like an exciting time – there’s more access, more voices and that’s powerful.
Right now, I’m working with Johnnie Walker. We’re remixing tradition to tell the story of Johnnie Walker Black Ruby through fashion – mixing fruitiness, sweetness and playfulness to make something iconic feel vibrant and inspiring for a new generation. Through this new campaign, we get to present cocktail culture through a fresh, elevated lens – changing the narrative around cocktails by offering unique takes on some of the classics.
The creative process has been about blending two crafts: whisky-making and fashion. I came into it with my bartending background, so reimagining classics like old fashioneds and negronis with the bold, sweet flavour of Johnnie Walker Black Ruby felt very natural. Working with master mixologist Tim Phillips Johansson was a highlight. The way he talks about cocktails is how I talk about fashion – with passion and precision. I’m an image architect and he’s a cocktail architect, so there was real synergy in creating these four Black Ruby twists.
If I could go back and tell myself one thing before starting this journey, it would be: don’t be afraid to stand out and be yourself. There will be times when people don’t understand your vision or your style but that’s exactly what makes you unique. Also, patience is key. Trust the process, keep working hard and don’t rush the journey. Your voice and your perspective are your greatest assets – never lose sight of that. Learn the importance of persistence and finding collaborators who share your vision. That is what impressed me so much about the Johnnie Walker team – they wanted to work together as creative collaborators right from the start.
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