When Ray-Ban wanted to add a creative angle to its recent pop-up installation in London, who better to look to than Kate Moross? As a film-maker, illustrator and graphic designer, and with an in on music, thanks to her experience designing album artwork for performers including Jessie Ware and Simean Mobile Disco, she has every hip base covered.

The initial intention for this instalment of the Ray Ban Envision series had been to have up-and-coming New York artist, LionBabe performing live, but Moross wanted to try something different, something that worked with the event’s unique space, ‘The Bunker’, a dark underground maze of rooms, that she knew would be the perfect backdrop for projections.

‘I wanted to create a 360 music video,' she explains. 'You’re so used to watching smaller and smaller screen sizes like your phone, and I wanted to indulge people in being surrounded by images and let people walk around and view them however they wanted to, rather than force-feed them a traditional edit. The piece ended up having a gallery feel – people spend time on what they love the most’.

Having mastered any number of media, Moross instinctively knows what will work for a particular project. ‘Usually I know how I want stuff to feel straight away. Sometimes things change but the general output is usually the same as I intended’. Speaking of the Ray Ban project, she comments, ‘The goal with most film is to give people goose bumps. I just wanted people to enjoy and want to look at it’.

Becoming an artist wasn’t a choice for Kate Moross. ‘It’s what I was made for from day nought, the ‘loved it from when I was a child’ cliché is a cliché for a reason,' she says.

After spending her school years ‘living in the art club’, Moross when to study at the acclaimed art school in Camberwell, before setting up a graphic design studio, from which she now works with a full team, in Camden.

Just as its would be reductive to pigeonhole Moross with any one specific art practice, so she is resistant to aligning herself with or being compared to other artists or influences. ‘I am whatever you want me to be,' she declares, in her characteristically enigmatic and iconoclastic manner.

While she admits stylistic crossover with other artists is inevitable, she claims also to 'have a bigger palette or wider range of things that I do that don’t cross over’. The same goes for drawing inspiration from anyone else in the art world. ‘I don’t really use the word inspiration. It’s on my black-list of words. You don’t get ideas from other people, you get them from yourself. I just live my life and I keep my eyes open and that’s how I interact with the world’.

As such, she doesn’t look to her own work for ideas either. ‘I’m not that retrospective person,' she continues. 'The next project is always my favourite piece of work. Creating anything is a process and once it’s finished it just gets catalogued.'

This highly personal approach to her work is evident in Moross's attitude to collaborating with artists on album design. ‘If I can’t work with the artist, I won’t do it,’ she insists. For her, the outcome is not only more successful but more honest when the project involves a meeting of minds. ‘If I can’t talk to the artist, I won’t know who they are, what their music is about – it’s so important’.

Having spent nearly two years working on projects with Jessie Ware, and more than four with close friends Simian Mobile Disco, with whom she cut her teeth designing for music, album artwork is an important part of Moross’s output. ‘We joked in the studio the other day that if we put all the artists we work with on a flyer we could sell out a festival!' she laughs.

Given her varied and eclectic output, it’s exciting to imagine what Kate Moross might have up her hyper-colour sleeve next. Just don’t ask her who’s going to inspire it.