WORDS MAISIE JANE DANIELS - IMAGERY COURTESY OF SARAH DATTANI TUCKER
When we think of the music industry, it’s easy to focus on the spotlight — those centre-stage moments where artists bare their souls. But what about the creatives behind the curtain? Those who construct the worlds that make music more than just sound but a visual and emotional experience. Enter Sarah Dattani Tucker, a powerhouse creative director and photographer whose vision has quietly reshaped the way we experience music.
As a brown woman with Indian heritage, Sarah’s story is deeply personal yet powerfully universal. It’s about navigating the nuances of identity, culture, and creativity in an industry that still struggles with genuine representation. From her first big break with Lianne La Havas to crafting visuals for artists like Arlo Parks and Lola Young, Sarah’s work embodies true authenticity.
In this "Behind the Scenes" interview, Sarah opens up about the triumphs, challenges, and beauty of building a career as a brown woman in the creative world. She reflects on her unique approach, rooted in empathy and the female gaze, and on her passion for showcasing diversity in all its raw, natural, and sexy glory. Her journey is a testament to the power of knowing your worth, saying no when the fit isn’t right, and creating art that stays true to who you are.
Maisie Daniels: Hey Sarah! Welcome to F Word mag! Let’s kick things off — what does a typical day look like for you as a creative director and photographer?
Sarah Dattani Tucker: Shoots, tours, lots of coffee, lots of mood boards, exhibitions, dropping film off at the lab — and if none of these, then I’m probably procrastinating.
MD: How did you get your start as a creative director?
SDT: Art was my favourite subject at school and I was always interested in taking photos and designing / making things. I I didn’t go to Uni but I moved to London when I was 21 and did a few creative / production bits for a creative agency. I was working on an awards show for them and I met Lianne La Havas in the green room. We instantly got on really well and the next day her manager called me and asked me if I'd come and work for her. I didn’t know anything about the music industry but that’s where I learnt everything. I put my creative skillset to use and gradually became more and more involved in the creative side of the industry.
MD: You’re based in London. What’s your take on the city as a creative hub?
SDT: I have a love / hate relationship with London. It can be so great because it’s so diverse and international but I also think it can feel very closed and a bit of a grind at times. For music, you have all the major labels here so it’s a good place to start but in recent years I've found myself spending more and more time away from London. But being away so much always makes me love coming back to my community here.
MD: Any words of wisdom for aspiring creative directors? Especially for women of colour?
SDT: I’m going to say especially for brown women because it’s a very unique and often misunderstood experience - don’t be afraid to reach out to others and ask for support or mentorship, this has helped me a lot.
MD: Let’s talk creative process. Where do your ideas come from when you’re starting a project?
SDT: My creative process always revolves around an anthropological approach—understanding who the subject is, what they’re feeling, and how I can create a visual space for that emotion to truly shine. I like to centre my work on the artist's character and performance. I also love working with women because of the shared experiences and mutual understanding. This empathy for one another is what the female gaze means to me. There’s no grand narrative or distracting concepts competing for attention. Nothing overshadows the core message or introduces another perspective; it’s raw and authentic, which is something I really value when creating work.
MD: What’s been your favourite project of 2024?
SDT: Working with Lola was a lot of fun, she has incredible energy and is so trusting and collaborative and it’s been so beautiful to see her music resonate with so many people. I toured with Lianne La Havas in Europe and Brazil last year, which was so special. I felt honoured to document such a beautiful experience and capture some really special moments.
MD: And what are you looking forward to in 2025?
SDT: This year I’m looking forward to pushing myself creatively. I think as a creative you’re always evolving and discovering who you are and what your style is and I feel so connected to that process.
MD: You directed Lola Young’s Messy video, and it’s everywhere right now - I can't get enough of it! That must feel surreal! Why do you think the song and video connect so deeply with fans?
SDT: I think the lyrics to the song really resonate with so many of us, and it's been incredible to see clips of the video all over the internet. The concept for the video was also re-created for Lola’s Jimmy Fallon live performance. I think this video embodies that kind of female gaze I really try to channel in my work, creating this space where Lola’s personality just shines, within the confines of this empty, red-carpeted room.
The project began with a concept inspired by the chaotic nature of "intrusive thoughts"—those random, uncomfortable ideas that pop into your head, often messy and tangled. An empty room with a giant cake may not be the most conventional choice, but perhaps the empty, red-carpeted room symbolises a space where vulnerability can thrive—a place where, even in the messiest moments, we’re encouraged to shine unapologetically.
MD: Can you talk about the significance of having your work shared by a platform like 'Diet Paratha’ and what it meant to you as a brown creative?
SDT: ‘Diet Paratha’ share and celebrate brown / South Asian cultural moments. I’ve been obsessed with this platform for years! It was so important for me as a brown person to see platforms like this grow and celebrate who we are in a contemporary space. I was so happy to see them share my work and I received such an amazing response from the brown community, which felt really special.
MD: You’ve worked with incredible artists like Arlo Parks, Lianne La Havas, and Kojey Radical. How did those collaborations come about?
SDT: As a creative director in the music space you are across so many aspects of an artist campaign. From album artwork, press photos, video commissions, content creation, merchandise, live show design, styling, logo, and graphics… It's a huge process and you have to really understand the artist and the world they want to build. I feel so lucky to have worked with the artists I have and to have been a part of so many incredible projects.
"It’s about how to combine these traditional inspirations, which feel personal and important, with who we are as mixed-heritage creatives in the modern world."
MD: Have you ever turned down a project? If so, why?
SDT: Yes, all the time. I think it’s really important to. You really have to be so passionate and emotionally invested to make good work in this space so I only take on a project if I feel I can really connect to it and deliver something worthy.
MD: Tell us about your photography project Organza. What inspired it?
SDT: Organza is a collaboration between myself and Alima Lisa Koné, we wanted to capture some of our South Asian culture and heritage through a contemporary lens. The series uses vintage pieces from our families' wardrobes and jewellery and fabrics we remember from our childhoods but styles them in a sexy way that captures our own styles and personalities of today. It’s about how to combine these traditional inspirations, which feel personal and important, with who we are as mixed-heritage creatives in the modern world.
MD: What do you hope people take away from Organza?
SDT: I hope that this imagery will help to break down some of the dusty stereotypes of South Asian culture and showcase how empowering, sexy and effeminate it can be.
MD: How important is showcasing diversity in your work?
SDT: It’s really important to me because I have felt so misunderstood in this industry. I'm mixed Indian and British and that comes with a huge culture clash that people know very little about. Most senior execs are white men and they have a very generalised view of “diversity” which covers very little ground. I want to break down these constructs and help pave the way for true diversity of peoples experiences because that’s the only way we can keep on making powerful work that can really resonate.
MD: How would you define your style?
SDT: Feminine, sexy, empowering, independent, raw, natural, authentic... :)
MD: What are the biggest challenges you’ve faced, and how did you overcome them?
SDT: The challenge of getting my kind of nuanced, female-driven creativity approved is real. It’s like trying to convince people that vulnerability and subtlety have just as much value as something more obvious or flashy. It can be hard to get the trust of senior execs to bring this delicate approach to life. I think, as a creative you, have to be so emotional so it’s hard not to find these challenges really personal, but to overcome them you really have to develop confidence and conviction in your own creative eye.
MD: Who is your dream collaborator?
SDT: This is such a hard question because I draw inspiration from so many places. Solonge and her creative world was a huge inspo for me. I’m totally obsessed with Nadia Lee Cohen and the world she has created, I feel like she really owns it.
MD: This is F Word mag, so we have to ask: What’s your favourite F-word?
SDT: Hmmmm… food? I loveee food.
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