Kate Moross creates a poster for Disney.

Disney has for the first time defined what it means to be a Princess in a set of ten principles, which have been released today to encourage young girls to believe in themselves.

Disney commissioned parenting expert Judy Reith to analyse the characteristics of Disney Princesses including Belle (Beauty and the Beast), Rapunzel (Tangled) and Tiana (The Princess and the Frog), before putting a long list of qualities and traits to a panel of over 5,000 parents. The parents then ranked the list based on the attributes they judged most relevant and important to their 6-12-year-old daughters.

The Princess Principles have been turned into a series of posters, which are being made available for free to young girls across the country — through Disney Stores and online as a free downloadable print. And one of those posters has been created by our own Kate Moross.

Here’s what Kate had to say about the project:

“Disney is as much a part of my life now as it was when I was little. Anyone that knows me will know this chance to collaborate with Disney is a dream come true. It has been really fun to bring to life these principles, and I hope that it will be enjoyed by big and little people on the walls of wherever they call home.”

Meet the team at Studio Moross

Meet the team at Studio Moross

Many of you will know Kate Moross, and the vibrant illustrative style she’s added to numerous magazines, videos, and even textiles. Since 2012 she has also run Studio Moross, a multi-award-winning collection of colourful characters who work with musicians great and small to create print, packaging, film and branding that really attracts attention. You want some names? Try One Direction, Disclosure, Wild Beasts and Sam Smith for starters.

Recently, we worked with Kate on some new shots taken of her and her team at the studio. And that seemed like a good excuse to introduce them to all of you out there in Breed land.

Here they all are, assembled outside the studio. From l-r they are:

Studio Manager Jess Penfold, motion designer Tim Marriot, graphic illustrator Andrew Khatouli, designer Charlie Patterson, 3D & 2D animator Rose Pilkington, head of video Linus Kraemer, Director Kate Moross and and the ever-doodling illustrator Guy Field. Plus not forgetting Ebi and Tako – Kate’s two dogs.

You can see more of the team and what Studio Moross get up to by visiting

Plus a bit more on the team as individuals below.

Kate herself – head honcho, boss and direction-pointer for the team.

Guy Field wandered into the studio one day in 2012, and he seemed harmless, so they decided to let him stay. He’s a constant doodler, and no piece of paper or surface is safe in his presence. He’s also a somewhat unique illustrator, who brings his strange yet beautiful style to many projects.

Linus was the studio’s original animator. It’s fair to say he’s kept the studio on the move ever since, both on screen and to the beat, as he harbours musical skills as well.

As well as being confectionery-provider-in-chief and head of morale, Charlie Patterson is master of eye-challenging geometric paintings and optical art.

Rose Pilkington is our 3D rainbow of swirling pastel shades, our digital dreamscape, our unicorn acid trip,  she joined the video team in July 2015. With her comes the almighty master of zen, Seal the whippet.

The best there is the best there was the best there will ever be, can you smell what Andrew Khatouli is cooking? To be the man, you’ve got to beat the man, and you can’t teach that. He’s our illustrator whizz kid, and that’s the bottom line.

Timmy Marriott, The Studio Heartthrob. he moved from Bristol to join us as a Motion designer. The tallest member of Studio Moross; he measures 6 foot 4 in flats, but has abnormally small hands. Loves vinyl and DJs to us while we are on our lunch break, which is delightful.

Jess is Studio Manager, and an expert on super-heroes. Both come in useful keeping a place like Studio Moross in order, and she frequently demonstrates her own superhuman ability to produce snacks at will.

Shown here are a selection of shots of the team at Studio Moross HQ.

We chat to Kate about her recent trip to China

We chat to Kate about her recent trip to China

Have you travelled to China previously, or was this a new destination? And what inspired you to visit?

I loved Hong Kong and Japan and wanted to see what China was like in comparison. I was also interested to see the architecture and recent explosion in commercial culture.

What were your expectations? Was the reality very different?

I don’t think I had any clear expectations, but I don’t think I realised quite how busy Shanghai would be. Tokyo has a massive population, but people are more aware of each other’s personal space. On the subway in China we would be literally crammed in. People would just push straight in front in queues, things like that. I got used to it pretty quickly. I kind of enjoyed it in some ways – it was so different from London.

Did you know much about Chinese art and design before you went?

To a degree. I love seeing every kind of design when I visit other countries. Learning how people communicate and express something really simple and mundane can be really interesting. Even just a basic sign in a toilet can be so different. It’s these subtle things I love.

You went to the capital, Beijing. Is there a comparison to London in the design world sense, or are they too different to make a comparison?

Too different to make a comparison! Beijing is amazing. Visiting the Forbidden City’s something I will never forget. It was just so enormous and cinematic, it blew me away. Every tree was immaculately preened and lots of the more natural features in the gardens are man-made – such as rocks dug up from the ocean – so they have a surreal, designed feel about them. It made me think of Disneyland, but Disneyland with an ancient cultural history.

You also visited Shanghai. What did you think?

Taking the bullet train there was amazing. Seeing the country and the landscape changing was much more interesting than flying. When we got off, we went to get in the taxi queue. It literally had two thousand people waiting in line. It was the longest queue I have ever seen. We ended up getting the subway with our luggage. When I got out the other end we were on East Nanjing Street (their Oxford Street). It was as busy as Oxford Circus on Black Friday, but on a regular Sunday afternoon!

What were the highlights of your trip for you personally?

The toboggan down the Great Wall was amazing. We went up in this rickety old chair lift, and then came down on these little individual toboggans that cut through the mountain. It was amazing – and very dangerous! The Great Wall was also unreal. You just can’t fathom how big it is – and how gruelling it must have been to guard it. That’s some Game of Thrones shit!

I also saw some excellent architecture exhibitions, and I met a few local creative people for dinner that I had reached out to before I travelled. It was really interesting getting their perspective on the cities they live in.

Were you aware of the struggles of artists like Wei Wei, working within the regimes? Could you work in a situation like that?

I think the most intense part was the internet limitations. I couldn’t access anything on my computer. I could only really look things up on my mobile. Dropbox was off limits, so interacting with the studio was impossible. I found it very difficult. It must be very frustrating for anyone who relies on the internet to do business – no vimeo, google, youtube, dropbox, gmail, I couldn’t handle it. I’ve relied on the internet to build my entire business and I can’t survive without it. Obviously, people have ways of communicating and collaborating to work around the limitations but, as a tourist, I felt totally cut off from the world.

Should we expect a Chinese influence in your forthcoming work, even a subtle one?

I don’t know. I find my references much more subconscious. I don’t directly include them in my work knowingly. Everything is absorbed and then expressed without me paying much notice to it. I like it that way. I think it means you make more original work. I think, if anything, it will effect my film-making, rather than my design – just because the spaces were so epic.

Would you consider collaborating with Chinese artists? Or exhibiting in China?

I’d love to exhibit in China or collaborate with some of the cool people I met when I was there. Watch this space!

A few shots from Kate are included here.

*For those who follow Kate on Instagram – you can see her tobogganing down The Great Wall.



Gap Japan

This month sees the release of the T-Shirt design that Kate Moross created for Gap Japan and Tokyo Rainbow Pride – ‘Proud To Have Pride’.

This month sees the release of the T-Shirt design that Kate Moross created for Gap Japan and Tokyo Rainbow Pride – ‘Proud To Have Pride’.

People of Print

Kate Moross – People of Print

People of Print are excited to announce the launch of their latest publishing project titled Posterzine, where a poster meets a magazine. It’s a mini monograph magazine which folds out to reveal a A1 format poster (594x841mm). Posterzine is printed by Pressision Ltd using two special Pantone spot colours each time on GFSmith Naturalis paper stock meaning that no two issues will ever look the same.

Posterzine has been registered at the British Library as a magazine because of the way that it folds in on itself, differentiating it from a pamphlet which is folded like a concertina. It has been given it’s own ISSN number and is noted as a publication. The small crow’s foot that appears because of this method of folding is most certainly a happy compromise and almost a signature of the product.

Posterzine strengthens relationships between the industries, brands, organisations and individuals through a series of crisp, articulate interviews and insights into talented and established professionals from around the world. Posterzine also represents a refreshing departure from the traditional publishing models; it is proof that print is very much alive and indeed thriving.

The first issue was released in September 2015. The issue by Kate Moross was released at the beginning of March 2016 and was Issue 7.

About People of Print:

People of Print was founded by Marcroy Smith. It began as an online library of illustrators, designers and printers, created with the aim of inspiring and educating about the power of print media. Working from their Hackney-based studio, they are a close-knit team of art directors, project managers, graphic designers, illustrators and developers answering briefs for global clients, as well as running self-initiated media and publishing channels for both web and print.


Kate works with McGarry Bowen for adidas PureBOOSTX

Kate works with McGarry Bowen for addidas.

Kate works with McGarry Bowen for adidas PureBOOSTX

adidas is bringing a workout and running experience designed especially for women to London’s Victoria Park for 10 days this February. The park will be home to The X, a specially designed pop-up space where adidas ambassadors will be hosting free workouts and events, alongside spectacular night-time running sessions on the park’s track that will be beautifully illuminated. The X has been created to celebrate the launch of the PureBOOST X; a women’s only running and training shoe that is designed with a unique adaptive fit and BOOST technology to return energy to the wearer.

Shown here is the postcard design Kate created for the event – YOUR ENERGY WILL LIGHT THE DARK


Sunglass Hut offers exclusive customisation with Kate Moross at London Fashion Week

Sunglass Hut offers exclusive customisation with Kate Moross at London Fashion Week

At the February edition of the London Fashion Week, Sunglass Hut, the Principal Sponsor, will offer exclusive opportunities not to be missed.

London Fashion Week, which takes place biannually in February and September, showcases hundreds of exciting designer labels and global brands to an international audience cementing the capital’s reputation as the birthplace of talent and the home of creativity and innovation.

Together the British Fashion Council and Sunglass Hut will leverage London Fashion Week content distributing it through their networks and social media channels to bring the UK’s biggest fashion event directly to a targeted global fashion buying audience. Sunglass Hut is also a business mentoring source for British designers, sharing expertise in retailing and marketing in the global arena.

Among the most relevant designers of the London Fashion Week calendar, thanks to his much appreciated eccentric and psychedelic creations, House of Holland has been selected to design the iconic London Fashion Week tote bag and customisable sunglass case.

Sunglass Hut offers you the chance to personalise your very own customised sunglass case, designed by House of Holland, Julie Verhoeven & Kate Moross.

Kate and her team at Studio Moross worked with adidas communications agency Hope&Glory to create a series of social films to tell the story of the sportswear brands Pure BOOST X running shoe.

Kate Moross and her team at Studio Moross worked with adidas communications agency Hope&Glory to create a series of social films to tell the story of the sportswear brands Pure BOOST X running shoe.

Kate Moross and her team at Studio Moross worked with adidas communications agency Hope&Glory to create a series of social films to tell the story of the sportswear brands Pure BOOST X running shoe. The films were used across Instagram, Facebook and Twitter and showed key elements including the shoe’s BOOST sole, the unique floating arch design and the three colour ways.

A few of the still designs are shown here, but to see the films and more go to adidas


YouTube commissioned UK artist Kate Moross to create 84 uniquely designed ‘ugly Christmas sweaters’ for YouTube’s most popular Creators. Over 150 YouTube stars received sweatshirts, accounting for 500,000+ social ‘likes’ and counting.

YouTube commissioned UK artist Kate Moross to create 84 uniquely designed ‘ugly Christmas sweaters’ for YouTube’s most popular Creators.

Over 150 YouTube stars received sweatshirts, accounting for 500,000+ social ‘likes’ and counting.


Rob Alderson chats to Kate about the world of magazines

Rob Alderson chats to Kate about magazines

We asked Rob Alderson to have a chat with Kate about magazine covers and features she’s created over the years, and which ones have particularly stood out for her…

RA. The print landscape is obviously changing; has that changed the kinds of commissions you get?

KM. In about 2006/7 I found there was a mini resurgence of print and it was less precious, half way between a fanzine and a magazine. Because of rave culture and indie music and this sort of pulse that went through London at that time, there were more formats for people to interact with. It was an amazing time to be a creative. Now it’s dropped off a bit and although there are lots of magazines, they are maybe a bit more sophisticated, a bit less rough around the edges.

RA. Do covers have to work harder nowadays?

KM. There are real trends in cover design and it drifts between illustration and photography quite regularly. I feel like right now illustration is about to pick up again but for a long period of time, for like the last five years, photography has been the thing. I enjoy illustrated magazine covers and I think there is a real place for them.

Sometimes you want to blend in in the magazine world and sometimes you don’t and I have had the pleasure of doing a couple of covers that didn’t blend in.

RA. You have said before that you get your best creative ideas while on the phone to the client – is that the same with your editorial work?

KM. Yeah, because that’s often the only real time when you get to collaborate with the client. I get like a chemical rush. If you put me in an MRI and did an assessment of my brain, I think I would get that serotonin boost, or whatever it is you get infused with in those sorts of situations.

I only have certain skills I can pull from my palette as a creative. I try and pull the right skill and the right style out for that theme. Sometimes it’s about combining them, sometimes it’s about pushing the client in a slightly different direction to what they had originally expected.

Occasionally I will change my mind, but most of the time what I start with is what I continue with. The thing with editorial is the turnover time. With most commissions you have a week minimum, up to three weeks maybe, but with The Guardian Guide, for example, the commission comes on a Friday night and it has to be in on the Monday morning. Over that weekend you might get to call the art director once.

RA. Talking of The Guide, that’s one of the commissions you have picked out as a favourite.

KM. This is my favourite cover of all time, The Guardian Guide A-Z of Modern Pop Music. I love music and I love working in music. There are no annoying sentences when you are doing lettering; they are just individual phrases. All of them are a symbol for something so I can design the type to represent that music. It’s all very basic, what a five-year-old would do but on a slightly higher level. There were no changes and I managed to sneak some nipples in too. It was really fun and I feel like a lot of people took notice of it.

RA. The next one you’ve got is a spread for Wired…

KM. This one was about internet talent. I think originally what I put forward was completely different – very wobbly and weird – but after a while we ended up going down this more isometric route and it worked really well. This is basically what Google looks like nowadays, now I think about it.

I have done a few pieces for them and sometimes it’s just a single page graphic with no relation to anything else. We did one for the first of the first 2011, so 01.01.11. We did a palindromic illustration that was just the opening page, as a marker of the funny date (laughs). Quite a strange choice.

RA. What’s the next one you’ve picked out?

KM. This is a really important one. I was still a student and I emailed Steve the editor about being in Super Super magazine which is a pretty lame-slash-brazen thing to do.

I used to be a total arsehole. After I finished university I left the country and moved to America because I realised I had turned into a total dick. I was a club kid, a scene kid. I was on the guest list, I knew everybody. I chose not to be that person any more because I realised that person was gross.

RA. But as that person you sent this email…

KM. Yeah, being that person did help me in my career. I am a lot less that person now than ever before, but I emailed him and said, ‘You should let me paint a mural and photograph me jumping up and down in front of it.’ He said I could do a pull-out poster in the magazine. I was really obsessed with popular science and anthropology.

RA. Wait, you were a scenester who was really into anthropology?

KM. I just really liked pop science, pop economics. I didn’t really enjoy reading about design, I enjoyed reading about people and the behaviour of people. I was really interested in Adrian Maslow’s hierarchy of needs, so I made this isometric poster, and then on the other side Steve asked if I could do a self-portrait so I made my own hierarchy of needs…

RA. I love the fact that stationery and sex are in the same section.

KM. The top one – self actualisation where obviously everyone is trying to get to – says “Morals, creativity, problem-solving, lack of prejudice, acceptance of facts, honesty, modesty, a good concentration span, an appreciation of science, economics, languages, physiology, sociology, a good pencil case and a hot girlfriend.”  

RA. It’s like performance poetry when you read them out loud.

KM. I was such an arsehole. This is a self-portrait of me in 2007.

RA. But how interesting that you have that…

KM. And it’s in a magazine. It is a time capsule. Maybe I shouldn’t have picked this one. (Laughs)

There are so many bits and pieces. This one is for The Royal Mail magazine. Any illustrator will know that there are a lot of magazines out there that the rest of the world doesn’t know about.

This one is interesting. I did a lot with Computer Arts and for this issue I designed the cover, I designed a t-shirt that they gave away and then I did all of these little mini-features throughout the magazine. Everything looks so dated now. It’s not very good but I feel like you could be not very good back then…

RA. In what sense?

KM. There was a sense of imperfection and sheer immediacy of creating online which then moved over into print. You could do a 20-minute illustration and show it to people and they would say, ‘Can you do that for my magazine?’ I never changed really, I was always informal and that suits editorial because you have to work quickly.

RA. Have you found that demand for editorial work comes in waves?

KM. I went through a very busy stage around 2007 when I did a tonne, but it definitely does become a trend. People will be reading Vice and see my name on an illustration and get in touch. That’s how I got a lot of commercial work I think.

RA. So in some respects the editorial stuff paves the way for more commercial stuff…

KM. 100%. It gives you exposure and gets you work and that’s why you don’t get paid a lot necessarily. You do editorial because you get to do what you want and it can be cutting edge if it goes in the right direction.

I do like working for niche magazines. This one was about logistics for Modus magazine (published by the Royal Institution of Chartered Surveyors)

The brief was cool and the money was ok and I have always wanted to do a more detailed city. Sometimes it’s not about the cool choice, it’s about the right choice for you and for your work.

There are some illustrators who will only work for the coolest fashion brands or the best magazines. I am not like that; I believe good design and good illustration is for everybody whether it’s the Royal Mail magazine or i-D. They are asking you to do a job – just because it’s cool doesn’t mean you’ll create better work. I don’t want to be cool. Who wants to be cool?


Kate Moross is interviewed for ShellsuitZombie, issue 6.

Kate Moross is interviewed for ShellsuitZombie, issue 6.

Designed and art directed by Alex Vissaridis and Sam Ailey.

Photography by Mudi Chris Eghweree.

To celebrate the launch, they’re putting on a pop-up shop where you can get a copy, along with a selection of postcards, stickers and prints.  The design studio ustwo will be hosting it at their studio in Shoreditch.

For more information see ShellsuitZombie


Plan To Do Great Things poster

Plan To Do Great Things

Plan To Do Great Things – a new type piece from Kate Moross. A poster commissioned by Donaldson Creative for Blueprint’s training programme. Limited Run of 50 screen prints, white ink on blue A3 Colorplan.

Kiehls Logo

Kiehls NYC

This month Kate Moross works with Kiehls NYC. More info and visuals to follow throughout June.