Sophia Roe – The Laws of Subtraction

Creative director, stylist and writer Sophia Roe approaches fashion less as product and more as language. When we speak, she is thoughtful and precise, returning to the ideas that sit beneath the image. “I think people often talk about fashion like it’s only about clothes, but that’s the least interesting part,” she says. “What I’ve always cared about is the cultural language around it.” Moving between image-making, authorship and observation, Sophia is drawn to the mythology of the ’90s – a moment when identity felt anchored in subculture and environment, when, as she puts it, “the image followed the life.” Today identity feels more fluid, but also more performative, shaped by digital references borrowed long before we’ve lived the contexts that produced them.

Eloise Barratt: You’re equally at home in front of the camera and behind it. Does each role satisfy something different creatively?  

Sophia Roe: They activate different parts of my brain. Being behind the camera or writing is very internal – it’s about building a narrative, shaping the mood, thinking about what the image or moment should communicate. Being in front of the camera is more instinctive. It’s about trusting your body and intuition and allowing someone else’s vision to move through you. But it also means I think about the image while I’m in front of the camera. I think understanding both roles has made me more collaborative. When you’ve experienced the vulnerability of being the subject, you become more sensitive when directing or styling someone else.

EB: The Garment is known for its tightly edited knitwear and tailored essentials. What drew you to build the label around these foundational pieces?

SR: When I founded The Garment, the intention was always to build something very focused. I’ve never been interested in creating a product just for the sake of it. What interested me was building a clear language around a wardrobe. What I enjoyed most was shaping the overall vision of the brand – not just the pieces themselves, but the world around them. The imagery, the atmosphere, the styling, the characters, the narrative that connects everything. If something doesn’t feel aligned with the vision, I find it difficult to ignore that. For me, creative responsibility also has to come with alignment. I need to feel aligned with what I’m putting into the world. I eventually stepped away and left the company to my partner so I could direct my focus in other areas.

EB: Your style feels like minimalism personified – restrained, but never flat. Is that balance between quiet and glamour intentional, or has it evolved naturally over time?

SR: I think it evolved naturally. I’ve always been drawn to restraint – it clears my thinking. Growing up with a mother who’s a furniture designer, I learned very early on about form. But at the same time, I’m not interested in minimalism that feels sterile. There has to be some tension – a texture, a silhouette, a sensuality. Some depth.

EB: From the pieces in your covetable wardrobe to the tools in your low-maintenance beauty cupboard, does this instinct to edit and refine act as a guiding philosophy in your life more broadly?

SR: Yes, editing is almost a way of thinking for me. I’m always asking myself whether something truly adds value – whether it’s an object, a routine or even a project. If it doesn’t, I’d rather remove it. It’s not really about deprivation. It’s about clarity. When you reduce the noise around you, the things that remain become much more meaningful.

EB: You and your mum hosted a cocktail to celebrate your tableware launch on Net-a-Porter alongside the Louise Roe collection. What did that moment mean to you personally – and what’s the most valuable business advice she’s given you?

SR: That moment was incredibly meaningful because it represents something we’ve built together over many years. My mother has always approached design with a deep respect for craftsmanship and longevity. She’s never believed in rushing things or building something purely for attention.

EB: How do you navigate the balance between personal style and trend influence – what stays, what goes, and what never compromises your aesthetic?

SR: Trends are interesting because they reflect the mood of a moment, but I don’t feel the need to adopt them literally. Usually, I observe them more as a cultural signal. If a piece doesn’t feel like something I would still want to wear five years from now, it probably doesn’t belong there. I have a way of experiencing life and that’s reflected in my way of thinking, dressing and really everything I do.

EB: Thoughtful consumption is central to your practice. How do you approach this concept in both fashion and lifestyle, and what advice would you give to someone wanting to be more intentional in their choices?

SR: For me, thoughtful consumption is mostly about awareness – understanding yourself and where something comes from, how it’s made and whether you genuinely need it.

In fashion, it often means buying fewer things and choosing pieces that can endure your actual life. My advice would simply be to slow down the decision-making process. If you still want something after thinking about it for a while, it’s probably the right choice. The most sustainable wardrobe is the one you actually wear.

EB: Many people thrive on being seen – models, actors, musicians – while others create quietly behind the scenes. How do you experience your own energy in these spaces and what have you learned about the value of both kinds of presence?

SR: I’ve realised that both roles require a certain kind of vulnerability. Being visible means allowing people to project their interpretations onto you, while working behind the scenes means trusting that the work itself will speak without you standing in front of it. Personally, I’ve never been someone who needs to be visible all the time. There’s a lot of pressure today to constantly show yourself and be present, and I find that quite exhausting. I’m much more comfortable when the focus is on the work itself. At heart, I’m actually a bit of a nerd. I’m happiest reading, colour-grading, creating visual coherence, researching, thinking about references and ideas. That’s where most of my energy naturally goes. But moving between those two spaces has made me appreciate how many different forms creative presence can take.

EB: When you’re in front of the camera or a crowd, you’re performing a version of yourself. How does that version differ from the person you are when alone, and how do you reconcile the two?

SR: I think everyone performs a version of themselves in public. For me, the public version is probably more distilled. It highlights certain aspects of my personality while leaving others more private. I don’t see that as a contradiction. It’s simply different layers of the same person.

EB: Do you think there’s a creative advantage to understanding both the loud, visible roles and the quiet, behind-the-scenes ones? How has moving between these worlds shaped the way you approach projects?

SR: Absolutely. Understanding both sides gives you a much broader perspective. When you know what it feels like to be the subject of an image or someone’s vision, you become more attentive to the emotional and practical experience of the people you collaborate with.