At 22, Frederic Saint-Parck has already carved out a unique path in the fashion world, blending personal influence with professional ambition. Born in London, Frederic’s upbringing is rooted in the city’s multicultural tapestry, a place he feels privileged to call home. His family’s Nigerian heritage is woven into his experiences, but Frederic is also singularly “London” as the only one in his family born there. His older siblings are scattered across the globe—Queens, New York, and Beverly Hills, LA. But London is where he finds his creative compass. “Growing up here definitely deepened my love and admiration for art,” he reflects. London’s creative energy has allowed him to focus on art in ways he might not have if he'd been elsewhere, where survival and practicality might have taken precedence over passion.
Frederic's fashion journey began through the influence of his siblings. He recalls receiving clothes for birthdays, which confused him at first. Toys had been the tradition—Hot Wheels and train sets—but clothing felt foreign. “I thought I could get clothes any other day; it’s not a toy that means something.” But that spark of curiosity ignited a passion for everyday fashion. His fascination was solidified at 14 when Kanye West’s *The Life of Pablo* was released. Watching the listening event, surrounded by people wearing what he considered the coolest styles, Frederic knew he wanted to be part of fashion. His path wouldn’t be conventional, and he liked it that way.
Mowalola Ogunlesi, the designer and brand founder, became more than a mentor for Frederic—she became family. At just 18, Frederic interned for her, taking on styling and sketching, often sneaking his designs into early collections. “I honestly don’t know what she saw in me, but she gave me the keys to her studio and let me do my thing.” She even provided her apartment to him and his friends when they needed a place to stay. By 20, Frederic became artistic director for Mowalola, juggling the role while finishing his studies at Central Saint Martins (CSM). He remembers the surreal moment in Paris when he saw his name on the call sheet as artistic director. He didn’t boast, but internally, he knew he was on the right path. His most memorable work includes the Beats x Mowalola campaign with photographer Hugo Comte, a project he co-directed with his best friend, Aicha Sommer.
Now, as the artistic director for Miss Sixty, Frederic approaches the brand with a refreshing vision, aiming to reawaken its “sleeping monster” of potential. He’s mindful not to impose his style on the brand, instead focusing on its heritage and its connection to people of all ages. For him, Miss Sixty has been a staple of Depop culture, where vintage items are revered. The real difference between Mowalola and Miss Sixty, he says, lies in the heritage. “At Mowalola, we were still finding ourselves; we knew who we were, but communicating that was the mission. At Miss Sixty, I just want the girls to feel free and cool.”
When it comes to creating his personal label, Saint-Parck, Frederic draws inspiration from his diverse experiences and social circles. His friends from Central Saint Martins see him as an “artsy and smart” figure, yet they’re often surprised when he shifts gears, sagging his pants and rapping lyrics. He loves challenging these perceptions, blending influences from New York street style with an electronic vibe he calls “New Bjork City.” Music is a constant in his process; he curates Spotify playlists to reflect the mood and message of each collection. As he looks to the future, Frederic is determined to keep his creative process organic. His last collection was 83% womenswear, something that unfolded naturally, and he wants to maintain that level of authenticity.
In terms of influences, Frederic is drawn to icons who’ve created worlds within fashion, like Hedi Slimane, Lotta Volkova, and Demna. “You can fit into their almost ‘sub-genres’ of fashion without owning any of their pieces—they’ve created worlds you can participate in with your existing wardrobe.” He’s equally inspired by boundary-pushing pop icons like Christina Aguilera, Lady Gaga, and Beyoncé. Watching *Single Ladies* recently, he experienced a reawakening, reaffirming his admiration for Beyoncé’s otherworldly taste. His time interning with Gareth Pugh, where he worked on ballet costume design, showed him an often-overlooked side of fashion that merges with art and performance.
Frederic’s philosophy on commercial success and artistry has evolved over time. He once disliked the term “commercial” but has learned that it doesn’t have to mean selling out. “If you want to be artistic and disruptive while still being commercially successful, one way is to communicate with humor or in a way that doesn’t offend.” He recounts navigating complex conversations, like convincing Apple that Mowalola’s campaign featuring women in thongs was the right creative direction. For him, commercial success lies in presentation—creating an image that resonates widely but still pushes boundaries. It’s like a comedian telling a joke born from a personal experience: the delivery is what counts.
Outside of fashion, Frederic’s hobbies keep him grounded. A die-hard Manchester United fan, he’s just as passionate about sports as he is about video games. Currently, he’s captivated by a game inspired by Sun Wukong, the Monkey King from Chinese folklore. It’s in these worlds, both digital and physical, that he finds balance and inspiration.
As for advice to aspiring designers, Frederic emphasizes humility and the importance of learning from others. “Be yourself, and don’t be afraid to seek help, intern, or work for someone else. Everyone has to start somewhere.” He encourages young designers to immerse themselves in fashion history, watch documentaries, and stalk their favorite designers on Instagram. “The worst thing you can do is keep yourself in an echo chamber. You want to be absorbing information constantly.”
Frederic Saint-Parck’s journey is a testament to the power of perseverance, humility, and authenticity. From an intern styling Mowalola’s shoots to an artistic director shaping the future of Miss Sixty, he has a remarkable ability to merge personal style with professional vision. His approach remains refreshingly grounded, always open to evolution, and rooted in a deep respect for the industry that has shaped him.
