Future Creatives the Fashion Issue

the

fa s h i o n

issue

FASHION . ACCESS ALL AREAS OF THE INDUSTRY . FINDING THE RIGHT FASHION PATH FOR YOU . THE FATE OF THE INDUSTRY AFTER COVID INSPIRE THE FUTURE

1

Contributors list

2

JavierSoria Myrto Stamou Juan Carlos Graham Cruz Roy Lou Eris Tran Emily Grace Morgan Anna Featherstone Eleanor Stennett Quanta Cory Kristine McPherson photography

Nik Pate Arved Colin-Smith Mia Yaguchi-Chau Eunice Yeung Christie Ward Sammi-Jo Bridges Skye Galvin Nigil M. Crawford

3

4

Editor’s Note Future Creatives is a brand designed to inspire young creatives to help them gauge a sense of direction and to shine a light on the creative industries. We showcase work from all areas through creative page layouts, beautiful imagery, interviews from industry specialists full of advice and their journey to where they are today to inspire all.

Immerse yourself in Future Creatives latest edition; The Fashion Issue.

In this issue we showcase all areas of the fashion industry, from design to journalism, there is something for everyone.

We speak to those who worked their way up from study into their respected professions and the steps they took to get where they are today, to those who decided a lot later that they needed a change, and let fashion lead them into a happier life.

We cover the options of stepping straight into the industry comapred to staying through further education before venturing out into the world.

If you have always wanted to become a part of the fashion community but never sure how to go about it, this issue is perfect for you. With top tips and advice on different paths and attitudes you can take, to what you should watch out for in the up and coming months and how you can get involved.

We would like to send our thoughts out to those struggling in the time of Covid-19.

We review how the industry will be effected and what you can do to stay ahead of the game to help make the fashion industry combat and overcome.

Nothing is off limits, open your creativity and let your ideas be

eyes to another as elaborate as

new you

world of let them.

From your Editor, Megan 5

ContENTS 6

12 20 26 End of an Era

Dressing in Digital

Stylist by Accident

34 40 42 Inter-Stellar

What Comes Next?

Dressing in Dreams

54 64 76 Ideas Brought to Life

Signature Style

The Style Guide

82 90 96 99 A New Age of Tech

From Idea to Career

Education VS Industry

Interning in a Digital Age

7

future 8

Photographer of the Month : Nik Pate

creatives inspirethefuture.co.uk

head over to; www.

9

“Loving fashion is something that you cannot pin down to an exact moment, when you discover what it is and what it is for, then it happens.

To love fashion is to love yourself because it represents your way of being and how you show yourself to others. The best is when your style and personality is shared by many.�

10

visorifashionart.com

11

12

End of an Era We speak to Myrto Stamou, a talented Fashion Designer and Illustrator who’s worked with amazing high end brands such as Jean Paul Gualtier and Alexandre Vauthier.

13

14

Where did your love of fashion first stem from?

I was always attracted by several artistic disciplines so my interest in fashion design and illustration came kind of naturally since I was very young. For me it has always been a matter of creating beautiful imagery with a fashion context, getting inspired by art and culture to create contemporary wearable pieces of art.

Can you describe a bit about your background and education history?

I was born in a small city of Greece and moved to Athens after having finished my basic education at 18. There I followed a course of two years which introduced me to fashion illustration and to some general knowledge in fashion design. I then moved to the UK in order to expand my knowledge with a 3 years Bachelor in Fashion Design at University for the Creative Arts.

Do you believe what you learnt through education has benefited your career today or do you think a different route would’ve been more effective?

I think that you become a designer in the field, working in a team of professionals, dealing with deadlines and everyday issues. In that sense I feel that my education has benefited me with a basic knowledge on design but my real competences I definitely owe them to my professional experience. In terms of choice of studies I would not wish to have done something different apart from the fact that I regret not attending a more prestigious University which would have benefited me with valuable contacts for my career.

Did you find it difficult to make a name for yourself within in the industry?

I do not think I ever made a name in the industry, I always had to prove myself to every new fashion house, from the first interview up to the first months of my work as an employee. Even if the fashion circle is not very big, I don’t think that there are many people apart from the creative director and maybe also the head of design of a big brand that do not need to really introduce themselves.

What was your first big break / how did it happen?

I guess it would have to be my winning the Gold Award and Womenswear Award at London Graduate Fashion Week. It was my final year at the University in Rochester UK and I had spent a year working literally non stop in order to finish my graduate collection, which was a quite ambitious project. So when I was announced as a winner among 400 other nominees at the end of my show that day it was way more than what I could have imagined, I was completely shocked and honestly the happiest and proudest person on earth.

When doing freelance work, do you tend to scout for clients or do you get enough revenue by people coming to you?

I have been freelancing for a year only so yes I do scout a lot, sending several emails to fashion brands, introducing myself. At the same time there are quite a few people coming to me, especially people who find my through the work that I publish on social media.

15

Can you give any advice for those wanting to get into freelancing?

Definitely get some years of good working experience before from needing the experience in order to be professional you will people with a good CV and will get trusted by potential clients

trying it. Apart also attract more way more easily.

You have worked for big fashion brands and houses such Jean Paul Gaultier. What is it like to work for brands such as this?

Especially Jean Paul Gaultier was an amazing experience that I hold to my heart also because it was my first apprentiship in Paris. I guess it is the most creative you can get, you are asked and expected to invent, to inspire, to push the limits with new ideas and this is everything that a designer should hope for. It is obviously also very demanding for the same reasons, but that’s what makes it so interesting. Also the teams you get to work with are usually made out of very creative and inspiring people which makes for a very exciting work environment.

How did you go about getting on board with these big names?

I worked and then work are have the

very hard on presenting an interesting, creative and professionally made portfolio I just persisted and persisted and persisted… I think one’s motivation and hard very obvious and often convince people to give you an opportunity. Once you first big name on your cv the second and third one usually come a bit easier.

When working with brands or clients, are there any re-occurring challenges you face and must overcome?

The main problem I usually face is what does not concern my work as a designer directly, which is usually naming a price for a project and risking to aim lower than what the client could pay for your work or aim higher and loose the client. Pricing in general for a freelancer can be quite tricky.

Do you find it difficult to balance commissions and your own personal projects?

Whenever I have a small gap between commissions I always work on a personal project. I absolutely love working on personal projects so it amuses me to occupy my free time with it.

Where do you get most of your inspiration from?

Traditional costumes and accessories from different cultures. the Korean traditional hat, the embroideries on Greek jewelry of the tribe of Berbers, all these have inspired my

The Japanese kimono, folklore costume, the latest personal projects.

The fashion industry is fast paced and always changing. What do you think the industry holds for the next couple of years? What trends should people be tapping into who want to get involved with the fashion industry?

I think that fashion starts slowly to get more sensitive about its impact on the environment.

So I believe that environmentally conscious fabrics and new technologies embracing the idea of recycling or zero waste will start being very present in the industry.

How important is it for young people today to take on internships and personal projects alongside education?

I think it’s absolutely necessary. Getting out of university with some professional experience is what will make the difference in looking for a job later. There are simply too many designers and young graduates out there, the competition is huge, so when you are serious about it you have to be already a step ahead before graduation. Otherwise, unfortunately, your cv gets lost in the lot.

Do you have any tips or advice for young creatives aspiring to pursue a job in the fashion industry.

Speak and get advice with as many people from the industry as you can. For my part I would say to be strategic and think of every choice carefully as every step is important, from the choice of university up to your specialisation as a professional or the choice of brands you choose to work and intern with.

16

17

I am the new creative

Discover all new apps and open a world of new opportunities 18

be

Ado tive a e Cr ud Clo

#Creativity For All

Students save 65% on Adobe Creative Cloud Get your 7 day free trial

19

Dressing In Digital We speak to Jaun Carlos, the founder of Virtual Apparel Solutions, or VAS for short. This is a company that uses 3D sampling to experience creative freedom during the development process of garment making without compromising material or budget, making the possibilities endless.

20

Juan Carlos is a Fashion Institute of Technology, fashion graduate. With over ten years of experience in the fashion industry, Juan has experienced all levels of the corporate world. From Assistant designer, Designer, Technical designer, Creative Director and now the owner of his own fashion company, Juan is now an award winning designer and one of the top 3D designers in the world, all achieved through hard work and dedication.

Fashion has always been something Carlos is passionate about and stating that even as a child he remembers looking at how people were dressed.

What Jaun loves the most is the business side, the thrill and satisfaction developing a great product brings alongside the magic delivered by creative geniuses, as Jaun likes to put it. He tells us that he has always been interested in circularity and the new technologies that can make different industries achieve this. It was this interest that took him away from a sketchbook and into the 3D modelling world.

Even with his love of fashion, everyone is aware of the current pollution problems the fashion industry is bringing to the world, including Carlos, but this is where he states that technology can help and one of the reasons he chose to found VAS3D. So, VAS? VAS is a company all about efficiency, producing the best product for the client in a cheap and eco-friendly way. When Jaun fist envisioned VAS3D, he was focused on creating a company that was based on delivering the highest quality garment visualisation for the top play in the industry, having the luxury company of 3D fashion confirmed by the best in the business. VAS3D is curated from a blend of creatives, technically trained and sensitive to the industry with the experience to back up their decisions.

Today VAS serves companies like Under Armour, Adidas, LMVH, MCM and Burberry, just to name a few.

More and more of the fashion industry is turning to digital especially with London Fashion Week going digital this year. “3D and Virtual Reality development offer the opportunity to deliver better and more accurate products.” It allows items to be developed in a collaborative environment and edited to perfection without compromising a budget as well as saving materials that would be used on prototypes.

“A real and necessary beneFIt for today’s industry, 3D is the present of fashion, not the future.”

21

VAS not only helps save money and materials but provides digital and detailed tech packs and digital pattern blocks to be used for production samples. Many digital garments VAS produces are often showcased in realtime settings such as showing bags on platforms you would find in a shop, with the lighting set appropriately. Jaun states that the lighting and setting of each sample depends on the needs that need to be communicated to the viewer. “Based on this, we excite proper visuals that respond to the objective. Lighting, texture, additional assets, they all play a very important part in this process.” On average it takes one to two designers to work on one product and all depends on the complexity of the style as well as the deadlines.

Whilst some garments are shown on avatars, some others aren’t. We asked Jaun if it was important to show pieces on virtual models for everything. Juan tells us that this is a decision the customers make based on the objective of the visualisation, with different types of settings that repeat on most projects. The first is Hollows; images of the samples showing fit and on-body proportion, but without showing the avatar. The second is On Avatar; humanoid avatars are dressed and used for e-commerce, social media and publications.

3D modelling and digital advancements within the fashion industry are the next step into helping reduce the waste amount within the industry every season. 3D can also have other benefits on the industry.

“I believe every brand must adopt 3D and VR in order to remain relevant, innovative and competitive. COVID-19 has accelerated the process by years and it is the companies who need to run in order not to disappear in the virtual noise.”

Whilst it may be hard to find internships or work experience around this subject, Juan strongly recommends exploring and experimenting with personal projects. “The world is thirsty for new ideas.” Jaun encourages to work hard and always follow your passion whilst keeping an open mind.

“Nothing wort something comes easy.

Be ready to adapt in order to evolve.”

22

23

“Fashion is such an important industry for the world, from the basics all the way to couture, every piece counts.�

24

vas3d.com

25

26

s

tylist by accident We speak to respected and the effect of

Graham Cruz, a celebrity stylist and creative director who’s worked with many high end photographers. He tells us about his journey into the industry and internships on becoming a stylist and what really happens behind the scenes.

27

Whilst everyone has their own beginning, their own stories, Graham’s is definitely a unique one.

Having now been a stylist for 24 years, it was only by accident that Graham came about his role. “I was working for a pop band in my home town of Dublin when their stylist got sick just before a music video shoot. The management like how I dressed at rehearsals and asked me to style the music video.”

Having no previous formal education in fashion, once he had a taste for styling, Graham dived head first into self education on fashion history looking at every fashion magazine he could get his hands on and proceeded to learn on the job! A lot of his love of fashion stems from both of his parents who Graham tells us were both such stylish dressers and were never afraid to experiment with fashion.

Now more than ever, Cruz emphasises on the importance of internship opportunities. When he first started out times were slightly different. “I was lucky to learn my craft quite some time ago when the industry was very different, when I started styling there was literally four other stylists in my city.” This made his opportunities incredibly plentiful and never had to experience being an intern or assistant himself. This being said, Cruz states that he can see now more than ever how important internships and assisting roles are, especially in a city like London which is so vast. They also play a crucial role as it is much harder to make a name for yourself now, especially with the rise of social media.

“An internship with a strong stylist can really help to open doors.”

One of the biggest challenges Graham faces within the industry is surprisingly politics! This side of the industry doesn’t always show the politics within it, for Cruz he states that his job can sometimes be 90% politics and the rest clothes. “It’s about managing brands alliances, publication expectations as well as client expectations! It really helps to be a people person.”

Finding your inspiration will always benefit when helping overcome challenges. Graham’s inspiration has always stemmed from the 1970’s, how men dressed in the 70’s, the power, the expression, the fearless attitude, the perception on masculinity and showmanship. He also states that the work of Jamel Shabazz alongside the movie the Warriors have been huge sources of inspiration for him.

Graham is a celebrity stylist and has worked with them from the start. The difference between celebrity and editorial styling Cruz tells us is the styling must play a supporting role to the celebrity.

With a model, he describes it has having a blank canvas to create a character with, with a celebrity, you have a preconceived character you either need to enforce to alter that perception.

“The pressure is a lot higher with celebrity styling as your work is seen by such a wide and varied audience.”

Styling is a very subjective industry and personal preference can heavily benefit someones opinion.

Sometimes it’s hard to know whether to leave your personal preference at the door or not. Graham reassures us that trusting your personal taste and infusing that into your work is actually the best way forward.

“As a stylist you want to develop a voice which is uniquely yours, so when a client books me, they have an idea of what my styling handwriting is and know what I will bring to the table over another stylist.”

When starting out it can be difficult to trust instincts, knowing how something shown on a hanger will look great on a model Cruz says that is something that comes with experience. He advises that it always helps to understand what the photographer is doing on the shoot so you can know how it will effect the look of the clothes. He states that it also helps to understand garment construction, so you know how you can manipulate the garment to perfect the fit.

In terms of finding the right items for the model, Graham tends to think of each fashion shoot as stills for a movie and uses the styling to create the character who inhabits that movie.

“I choose to shoot a balance between the garment itself and who will be wearing it.

Will this garment on this model convey the story?”

In addition to this, you also have to work with what the client wants as well as your professional opinion. Creative freedom really depends on who your working with and varies from job to job.

“Some clients are after your complete creative overhaul where as others require the finishing touches to an already outlined aesthetic - the details, the nuances that bring a look to life.”

Graham also takes on the role of styling director. This includes roles such as overseeing the final aesthetic, pairing styling and photography teams together, setting out themes and developing concepts. It all involves making a lot of mood-boards!

28

29

30

Stress VS Pressure Knowing how to manage the pressure of a deadline without allowing it to turn into stress has been a key lifeskill I’ve learnt and it carries through to me everyday.

31

get stuck in Become a sponge! learn as much fashion and art history as possible. Be diligent. And MOST importantly .... be lovely!!!

32

33

34

We speak to Roy Luo, a Toronto based artist and designer. In his work, Roy explores themes of identity, queerness and displacement. He believes in the accessibility of art and fashion in practice to challenge the limits of the industry in an expressive way.

35

36

You mention in your Slime Sublime design that you had anxious and stressful experience. How did you manage this through school?

Someone’s threshold for stress can vary from person to person but design for me is so personal, which makes it harrowing sometimes because I tend to put a lot of myself into my work. I’ve definitely learned to respect my physical and emotional limits when it comes to creating work, as well as having a dedicated working timelines to prevent burnout.

You mention that you explore common themes of identity, displacement, queerness etc.

Do you have any other underlying inspirations for your collections and deeper meanings behind each garment? (Such as the ‘Sick day’ dress) My Sick Day Dress was particularly designed from a place of nostalgia as inspiration, taking comics and toys I loved as a kid while combining them with microscopic organisms in a fun way.

But yes usually garments have more than one point of inspiration, and I like to draw from almost opposite ends of thought sometimes when designing because that’s usually where I get the most depth and variation in ideas. I also find it fun for me to link things like toy dinosaurs to e. coli because it’s like a puzzle of how these things can fit in the same universe of a collection.

Did you always have a love for fashion and designing or was there a pivotal turning moment for you?

Can you explain a little about your background and education history.

I think I’ve always had a love of art, and that’s the way I see fashion as another medium for expression. I’ve always been involved in the art realm rather than the commercial fashion realm and that’s where I feel most comfortable creating, without the pressure of a retail market. I used to love going to art museums as a kid, and unfortunately my high school did not have a fashion course but had a really great enriched visual art program that allowed me to examine the creative process more conceptually. That’s always where I’ve approached fashion, and I always sought out the more technical learning opportunities outside of school. I’m grateful for all the educators in my life and everything I’ve learned has been crucial in shaping my work today.

Do you find it difficult to portray the themes and narratives you are after when designing or creating a garment?

Not really, it really comes down to my holistic process. As a responsible for every part of production and that’s the nature anyway, so I’m always extending beyond that by creating my fabrics, and accessories that I end up controlling the whole

student you’re usually of work I’m used to own branding, prints, story of the garment.

37

Is it difficult to make a name for yourself in the industry today?

As of right now, I’m uncertain of what role I want to play in the industry or if any at all.

Whatever happens, I know that it’s my position as a designer to be responsible, ethically and sustainably, as well as responsible for representing my truest dedication in my work.

How do you go about always finding ways to incorporate yourself and your personality within your work and your garments?

It’s definitely a lot easier now to design in a digital age because of the ease of access I have to laser cutting and fabric printing which makes up a large part of the character in my garments.

What are some of the biggest challenges you face in the industry and how do you overcome them?

I think my biggest challenge sometimes is caring too much about how people react to my work. I don’t think I should care less of course I need to respect my audience, but I’ve definitely learned to care more about what I create, down to technical quality and artistic value, rather than where in the industry it occupies.

What do you love most about design?

I love the process most of all. It can be tedious sometimes and sometimes I’ll never think I’ll get something done but that time I spend ruminating, reiterating, and designing down to the finest detail is where I am my most creative.

How important is it for young people today to take on internships and personal projects alongside education?

It’s super important to seek opportunities outside of school because school can only take you so far, and school only happens for four years anyway. It’s similar to playing an instrument where practice is crucial to honing a craft, but also practice gives you the chance to generate new ways to apply that craft as well. Without working at a tailor shop or interning, I may not have the same crucial technical skill set.

How do you challenge the boundaries that media provides with your work? How do you turn your creative solutions to challenge this?

I’m using media in this sense as the plural of medium, as it’s important to know your material well in order to experiment with it. This is where my love for creating my own closures and textiles comes fully to light. For example, I created a digital tennis ball print for a children’s sportswear collection that was not only printed on twill but laser etched onto denim for a print repetition. Or for example, I love cutting my own acrylic buckles for a leather jacket and a winter coat I created.

How did you go about trying to find the right university course for you?

It’s hard to determine what’s right for you because you have to ultimately weigh what each and every program can provide and what matters most. I love Ryerson University for it’s proximity and technical teaching, but within my school I’m also able to stay true to my creative identity.

How long on average does it take you to complete a project from idea to execution?

Do you often find it difficult to come up with new ideas and concepts? If so, how do you overcome this?

Often if it’s for school it could be the span of a semester, but on my own I’ve made garments within a day to a month. The complexity varies on the design details I put in. For me, inspiration is everywhere, and I think it’s fortunate that I approach creating as art because I’m always looking outside of fashion for inspiration.

38

“

“Find F your style, true and honest to you.

It will often mean stepping outside your comfort zone to do so!”

“

39

What comes next?

What happens to the fashion industry when COVID is over? The unknown can be frightening but it won’t be all doom and gloom. The fashion industry will be opened up to new ways for the better and we may be ready to see a real change within the industry.

40

we

It’s no surprise that Coronavirus has greatly impacted the fashion industry already as we know it.

We are seeing in real time how brands are responding and adapting to the quick changing world.

We are seeing luxury brands such as Burberry, Chanel, Prada and Versace are rallying together to provide Personal Protection Equipment (PPE) to hospitals and key workers, as well as donating money to intensive care units.

Not only this, but massive events like London Fashion Week are going digital whilst merging both men and women shows into one. Focusing on the experiences of business and creatives, the content will be available to a global audience unlike the exclusivity that would usually come with Fashion Week. The British Fashion Council stated that the combination of shows “Would give designers more flexibility and reflect the event’s role as a platform for the city’s influence on society, identity and culture.” With this big change in ways, it brings to light whether this way of the show will be adapted even after COVID. Already we had seen more and more brands release gender-neutral lines and promoting this way of fashion, particularly due to Generation Z and they’re views on being defined by your gender. Not only this, but the argument of sustainability has to be taken into account when predicting on how the pandemic will alter the fashion industry. Major fashion brands have lost money due to shipments of materials being cancelled and must resort to selling on previous collections. Sustainability was one of the biggest buzzwords surrounding fashion, where everyone would talk about it but very little was done about it. Brands that have been indulging in fast fashion are beginning to feel the repercussions due to the fall in orders.

stand

But how will this effect the industry after COVID? Well, it’s not all doom and gloom. With all this talk of Fashion Week going digital, whilst they will not keep it permanently this way for future years, the digital side of it will definitely play a larger role. Many brands are looking to digital fashion in response to the pandemic after already considering this way of marketing and selling. Due to adapting to digital to fit their needs, freelancers will be much more relied upon. Younger individuals are now taught how to incorporate and utilise digital platforms in comparison to those already out in industry and are becoming interested in designing through digital. The number of freelancers is growing day by day and many more creatives a turning to freelance as a career or on the side of their regular jobs. This is great news for the growing numbers and really brings out a sense of community and showcasing creativity throughout the industry, giving smaller individuals another platform to get their name into industry.

Due to the loss in sales, the pandemic may be what it takes to open the eyes of many designers and start investing in a more sustainable way of designing and living. Already there are so many petitions, movements and attention brought to the pollution the fashion industry causes and of course impact on those who make our clothes. More and more people are becoming a part of fashion revolution and supporting the message they are giving. There has been a massive increase in petitions now more than ever to ensure real change is made before it’s too late. We must ask ourselves;

“What kind of world do we want to see emerge after this crisis is over?”

The industry can change for the generation to help that to re-shape the industry for

the better coming out the other side of this. You are happen and the most important pieces to the puzzle the better and input a positive change in the world.

stand together

41

Dressing in

Dreams

We speak to Fashion Illustrator Eris Tran. A artist who has worked with the likes of Versace, Dior and Elle Magazine, just to name a few.

He shines a light on working freelance and dealing with big named clients.

42

43

h i s o a n F for m “ e, is a

44

w

or

ld

of lux

ur

y

ve

o

Il

an

d

gl

it. �

am

ou

r.

45

Where did your love of fashion first stem from?

My strong love for fashion comes from when I first watched the models cat-walking in extravagant outfits on the runway floor with ear-catching music background. Especially, I have a deep passion for Haute Couture dresses - the pinnacle of high fashion.

Can you describe a bit about your background and education history?

Do you believe what you learnt through education has benefited your career today? How did you go about choosing the right courses for your aspirations?

My major in university is marketing. Regarding Arts, I’v learned via Youtube channels and foreign books for self-teaching and improving my sketching skills. It’s undeniable that marketing course have helped a lot to differentiate myself from others and get closer to international brands in this industry.

Currently, I have been participating in some course of Arts to enrich my skills and gain more experience.

Did you find it hard to make a place for yourself within the fashion industry and start to get noticed?

Definitely a yes. At the beginning, I just took it as a hobby. When now I have been seriously putting a lot of efforts to be me today. I have to get updated of new trend, new designs, new runway floor and draw more and more every passing day to have a foothold in this industry.

What was your first big break and how did it happen?

Well. It must be my first time having been commissioned to sketch a wonderful model with a city background by a brand specialised in envelope. I remember receiving a payment of 300$, which is really a quite large amount of money to me at that time in 2016. Then I strongly believe that I can earn a living from my passion. Thus I decided to pursue this career path.

When carrying out freelance work, do you tend to scout for clients or do you get enough revenue by people coming to you?

When being a freelancer, I do not force myself to seek for many clients. Well.. Actually, I prefer being seeked by clients. I believe that each brand has their own criteria to choose an artist to collaborate.

Can you give any advice for those wanting to freelance?

Being also

a freelancer means you smarter than others.

have Your

to not efforts

only will

work decide

harder but everything.

Your clients include the likes of Versace, Dior, Alberta Ferretti. What’s it like to work with brands as big as these? Can you tell us about your experience and how you came on board with these big names?

Who has been your favourite brand to work with?

There are a number of brands I collaborate from afar, who send emails to illustrate their new collections.

Some brands I will work at in my country store like Dior and Versace, I work as an artist at their event, standing workshops for Kols and celebrities. They contacted me most via email to get started and through the contracts. But to work them, I have to get approval from headquarters companies in France or Italy.

And each brand gives me different experiences so choosing a favourite brand is very difficult for me.

46

47

SINGinDREAMS DRESSINGinDREAMS DRESSINGinDREAMS DRESSINGinDREA

48

AMS DRESSINGinDREAMS DRESSINGinDREAMS DRESSINGinDREAMS DRESSINGin

AMS DRESSINGinDREAMS DRESSINGinDREAMS DRESSINGinDREAMS DRESS

49

50

When working with brands or clients, are there any re-occuring challenged you face and must overcome?

One of the challenge when working with clients is the time waiting for approval for mockup drawings.

There were many feedbacks to make the works as perfect as possible and more importantly they are conveying the brand messages. Honestly, I have to improve it many times or when it comes to the worst situation, I have to redraw from the beginning to meet the requirement of clients.

Where does your inspiration stem from? Is there anyone or anything in particular who inspires you the most?

My inspiration comes from the sophisticated and lavish gowns from the Haute Couture semiannual fashion shows.. Whenever I admire these glorious designs on the runway floor, I always want to draw them immediately.

What was the inspiration for your book ‘Dressing in Dreams.’

The “Dressing in Dreams”; of mine is the collection of more than a hundred of my artworks. Those all are the most gorgeous costumes I’ve ever drawn in my life. The book highlights details of costumes, my inspiration and also the way to draw them.

Do you find it difficult to balance freelance work with personal projects? How do try and balance the two?

It’s very challenging to strike balance between personal projects and freelancing jobs, honestly. I’m currently teaching at some fashion academy thus I don’t have too much time. Then when choosing freelance jobs to do, I have to go with ones not urgent and suitable to my schedule. Sometimes, when it comes to big brands’ events, I have to put off the classes to be well-prepared and make it up later.

The fashion industry is fast paced and always changing. What do you think the industry holds for the next couple of years? What trends should people be tapping into, who want to get involved with the fashion industry?

From my perspective, I believe that fashion industry will witness many significant changes in the near future. Fast fashion which is harmful to the environment will be replaced with fashion with recycled or natural materials. Brands must always update trends or even be a trendsetter or internally improving their organisational structure to suit the new era. Surely, social responsibility and sustainability must be paid huge attention by fashion brands especially.

How important is it for young people today to take on internships and personal projects alongside education?

To me, that’s a must. That will help young people to be in real contact with their work, gain experience and skills to improve themselves. Moreover, it is also extremely helpful when it comes to big projects, the youth have many opportunities to make their portfolio more impressive to the brands.

Do you have any tips or advice for young creatives aspiring to pursue a job in the fashion industry?

Just work hard and do your best of the best@!

51

52

“Find the ego & express it through your artworks”

@eris_tran

53

Ideas brought to life Meet Emily Grace Morgan, a post-graduate, published fashion and portrait photographer who tells us her journey through university and working at London Fashion Week.

54

55

Where did your love of Photography stem from?

My love of photography came to me quite late on in my life. I always wanted to be an actress on the West End as I adored and had a passion for musical theatre. It was not until I was fourteen when my Uncle gave me his old camera where suddenly everything started to change. Every evening I would spend a few hours learning the script and lines and as soon as I was finished with that I began to experiment and learn as much as I could about photography and my camera. I started photographing flowers in my garden, dew drops from the early morning mist and rain along with anything that caught my eye visually. It then suddenly dawned on me that my passion had shifted onto photography. It is sad really that my high school did not see photography as an art form. They would say photography is an easier medium so I never took art for my GCSE’S as I could not draw to a high standard nor can I really to this day. I think my love started to really grow once I got to my second year of college. The first year I was not really taking it seriously as I did not know if this was going to be a job prospect in the future as I just loved taking photographs. It was when I picked up a Polaroid land camera for the first time where that really started to make me think about photography in different ways. It was a Billy Elliot, electricity running through me moment and I just wanted to learn more about photography and how I could incorporate Polaroids to my own work. I had this infinite with this film and camera, and I could not stop thinking about new ways to create work and develop as a photographer.

You have a lot of fashion photography on your page, what was it that drew you to this over other mediums of photography?

It took me a long time to work out what direction I wanted to go with photography. I wish I was one of these artists that instantly knew that fashion photography was what I wanted to do. I originally wanted to be a landscape photographer as I love being outside and exploring new places. When I started going to college, we were brought in to watch the second-year students work on their shoots in the studio. I walked in and the atmosphere of people rushing about, models getting ready, makeup artists doing touch ups and the hairspray smell that filled the air and, in that moment, I knew I wanted to work with people, not landscapes. It took me back to a familiar place when I was working with people during theatre productions and ever since I started with fashion I have not looked back. To start with, it was more conceptually styled shoots and then it branched into doing self-portraits as this was because I was too nervous to ask models to collaborate with me. In the end, it took until my second year of University where doing self-portraits was not enough for me and that I wanted more from photography. I wanted to push myself and start exploring the possibilities and bring to life the ideas that I had been researching and piecing together with designers, stylists and models; which was a big step and game changer for me personally and for my work. I still have moments where I get scared and have to hide my laptop but the fear of networking and bringing together a collaboration has started to dwindle as I have progressed. I think with creating fashionbased pieces of work I am revealing stories without a barrier or filter; almost like a fantasy realm and I think that has more power than being literal with a body of work. I use my own imagination with this which has scared me as I have unlocked different emotions and anxieties within myself that I did not know about. Larry Sultan once wrote: ‘…If I know too much, if the narrative is too well formed, I’m making pictures that are illustrative, and as a maker, that’s not interesting. As a viewer, that’s not interesting.” I think this quote is very important when making work of any forms and I think with fashion photography you have the versatility to create whatever you wish, it is limitless.

56

How did you go about choosing your place of study as this is a big and somewhat difficult decision for many.

Wow, this is so difficult and can be very stressful. For me personally, I went with the University that felt right to me and the University that was least rigid as I wanted to experiment and explore as much as possible. I did not know where I wanted to take photography, so I wanted the opportunity to find my path myself without being forced down a route that was not right for me. If you visit a University and come away questioning things and are uncertain then it is most likely not for you. Trust your instinct and do not let anyone force you into picking a University you are unsure about. You need to have the confidence to say that your choice of University is the one for you as you are the one that will be going through the process not them. I also think University is what you make and take from it, regardless of what where you go. You will network with people along the way who will say to you that they do not see the point of University and that it is all about the experience. Whilst experience is vital in any aspect of the creative industry and Universities can offer and help you with opportunities that are not always available for everyone. Every year multiple publications, exhibitions and internships are offered to students and Universities can help you with your proposals, supply you with facilities and the tools to make these entries stand out. These are almost the foundations for you to add to your portfolio coming out of University which is so important, and you can then expand on this going forward in your own career. Ultimately, those three years go by incredibly quickly and can really elevate your career, so you need to make the most of that experience in every way possible wherever you choose to go.

Where do you find most of your inspiration?

I like to find inspiration from all aspects of the creative industry, from photographers, painters to designers. I think the best form of inspiration comes from unexpected places and moments. For example, with my personal work, I am inspired a lot of the time from designers and their personal sketchbooks and the way they think about their garments. A classic is example is Alexander McQueen; each garment and collection had a story which was a reflection on his life. Each piece had a moment of his life embedded within in it. I was lucky enough to see the ‘Savage Beauty’ exhibition in 2013 and it was a key moment in my life where I knew there was more to an artist’s creation than what you first see and it is this motif that has generated a lot of inspiration within my work.

When I started to explore and experiment with my Polaroids more, I was introduced to artists such a Guy Bourdin, Debroah Turbeville, Sarah Moon and Francesca Woodman who all have an influence on my work. The ambiguity of their work, the combination of fine art and fashion and their ability to tell a story throughout is inspiring. I am also inspired by contemporary and fine art photographers too, such as Todd Hido, Juno Calypso, Stephan Shore and Sophie Harris Taylor, Larry Clarke, are just some of the photographers I admire and get inspired by. These photographers range from portrait and landscape makers which seems confusing as I gravitate towards portraiture but for me, getting inspiration from a variety of artists not just photographers, is a great way to broaden your knowledge and mindset. Other creatives can think and talk in ways which you may not have thought about before. Stephan Shore’s Uncommon Places is one of my favourite body of works. I adore the theatricality and the use of cinematic lighting in this series which gives an eery and atmospheric feel to the images. The way Todd Hido talks about his work and how eloquent he is when discussing his motifs is something that you can apply to your own work. Being able to talk about your work is equally as important, because if you have created an incredible body of work, but the synopsis is poor; for me that hinders the work and vice versa so reading about others work and how they see the world, can be very informative and that is why I love engaging with different genres of photography and art.

57

London Fashion Week Lond ndon Fashion Week London n Fashion Week London Fas ashion Week London Fashio on Week London Fashion Week London Fashion We eek London Fashion Week London Fashion Week Londo

58

London Fashion London Fashion Wee London F London Fashio London Fashion We

don Fashion Week n Fashion Week shion Week on Week Week eek k on Fashion Week

What was taking photo’s at London Fashion Week like?

How would others get into doing this or something like this?

Being a photographer during London Fashion Week is one of the more exhilarating, intense processes I have been through and I would not change that for the world. I love the buzz that surrounds fashion week, the fast pace atmosphere gives me an incredible adrenalin rush. I have only been doing London Fashion Week for a year now, but the knowledge I have gained from doing this has really helped me with my work all round. As a photographer, you learn about keeping up with the workflow, how to edit and work efficiently and to create unique imagery which you then can use for your own shoots and when you assist on big productions. There are negatives to doing fashion week of course, the pressure and stress can build very quickly, there are early starts and very late finishes, the photographers pits are hot and crowded and you come out the other end exhausted, but it is worth every second as you come away feeling proud that you have done this and created some incredible work. Even if you do not like fashion photography, there is so much you can learn from this experience and I would encourage anyone from all aspects of photography to try London Fashion Week. It is a great way to network and get your name out there as that is important as an aspiring creative. There is no correct way of getting into London Fashion Week. Perseverance and patience are key to getting involved with London Fashion Week and for other roles across the industry. You need to be constantly emailing magazines, PR companies to say that you are a photographer, designer or stylist that can help during this busy time and keep on emailing people. Everything comes together last minute as many designers and PR’s send invites out the day before London Fashion Week starts or sometimes even during the five days, so you must be constantly alert and patient with invites and responses.

What is it like to have and see your work published?

Do you submit a lot of your work to be featured or do a lot of people come to you?

When I see my work published, I still get the same feeling. It is still a very surreal moment for me, and I think it always will be. It takes me by surprise every time as I am my own worst critic and think wow, why do they like this piece of work? As I go through stages of hating the work I have just produced to then loving it and then if it does get published, I think this is great but I wish I did that, I wish I did this, even with the final product. I am always thinking of ways to improve. I am so grateful for any piece of work that is published because as I said, I am my own worst critic, but it does give you that sense of reassurance that you are doing something right. There are ways of course to enhance your chances to get published, magazines often want 6-10 different looks per editorial along with X amount of images and a variety of different poses too but the execution of the editorial is down to you and your ability to tell a story. I think the less you think about getting your work published and the more you just simply shoot, that pressure of being published lessens. I never go into a shoot with the intention of being published unless I have been commissioned, as there is a lot more pressure on a photographer to ensure things look good and go according to plan. I always think that if you love what you do, love the team you are collaborating with and believe in what you are doing, then any publication or features is a bonus. When people come to me it is the biggest form of flattery as it goes back to the reassurance that what you are doing and the hard work going into creating good pieces of work, is being noticed by magazines.

A lot of the time, I submit my work as I am a big believer in making things happen yourself rather than sitting around waiting for things to happen. I think by submitting work yourself is a good way gaining more experience and confidence more importantly; a lecturer of mine used to say ‘What’s the worst that could happen? They say no but you move on.’ And this used to frustrate me because having anxiety, you always think of the worst possible outcomes so that phrase was a moot point in an effect because being told ‘no’ was the worst thing in the world but as I am going on in the industry, I have lost count in the amount of times I have been told ‘no’ and that now drives me to turn those ‘no’s’ into ‘yes’s’ and to not let the negative responses stop me from wanting to achieve in my career. Now, when I receive an unsuccessful submission, a publication or a job I get upset sure, but I move on from it and continue to learn and evolve. The worst thing that can happen is that if you simply do not try or let it stop you, life in this industry throws up many ups and downs but it is managing each of those moments and pushing forward.

Week ek Fashion Week on Week eek

59

How important is it to take up internship and work experience opportunities?

I think it is very important to take up internships and work experience opportunities, especially as a post graduate student. It can give you an insight to the industry and you can learn so much from the internship/ work experience. I would say that when applying for work experience and internships you need to be aware of companies who will exploit current students and post graduate students. I have been on interviews before where the internship sounded great but then they would say ‘we would need you for 3-6 months unpaid work’ and to me, that is not right as it is free labour essentially and companies are very good at dressing this up to make it sound great. If you are in a position to take a 3-6 month unpaid internship that is incredible, definitely go for it but for the majority of us, it is just not feasible and this is what you have to think about and will have to make some very hard decisions. However, there are plenty of companies and employers who do pay for interns to join their company, Fashion Workie and Find Your Internship, post many paid opportunities. Knowing this when I first came out of University would have been invaluable as I have had to learn the hard way. I would say before you jump headfirst into applying for internships and work experience opportunities, think about what is suitable for you and what you want from it. If you are a designer it would make no sense for you to apply for a photography internship so you need to make sure it is relevant to you and it is a place where you can make the most of your skillset and what you have learnt from University. I was starting to apply for internships for digital marketing within magazines at one point as I was becoming frustrated with the lack of opportunities I was getting at the time. However, looking back now it made no sense to do that as that was not the direction I wanted my career to go in. Always make sure you take on an internship or working opportunities that you want and will benefit from in the future.

What’s the biggest difference between studio and location shooting? Do you have a preference?

I think the first obvious difference between working in a studio and location environment is the weather.

Unfortunately, the weather in the UK is so unpredictable and it is frustrating as you must be on your toes to either go ahead with a shoot if the weather is good or cancel it last minute. For me personally, most of the time I try to work within a studio environment but when the weather is right you have that versatility of taking the studio outside so location shoots can be incredible in that respect by combining the two. Another big difference between the two environments is the price difference as it is free, in most cases, to shoot in a park, a field and market stalls. To hire out a studio particularly in London, you are looking at £100 plus for a few hours and even more if it is a for the whole day so I think that is why a lot of creatives tend to work outside and create outdoor studios to keep expenses down. For me, as much as I enjoy being outside and working on location, I much prefer a studio environment as you can control the shoot in every aspect. You can control the lighting flash and daylight, you can create sets and really let your imagination run wild in a studio. I joke to my family and say ‘give me a white wall and I can create Fantasia’ because I get inspired by blank rooms and studios as I can literally let my imagination run wild. Another reason why I prefer a studio environment is that you can really focus and not have to worry about the general public walking down the street you are shooting in, or making comments towards my models (bless their hearts) whilst getting changed in the middle of the street. You would be astounded by what people say when I am helping my models change and protecting them behind a sheet (Tip for any photographers and stylists reading this, always bring a sheet with you on location!) If your model can not go to a café to get changed or does not mind getting changed outside, a simple sheet will give them their privacy. It sounds obvious but honestly it will come in handy. I also think working in a studio you can be versatile in the type of lighting you can create because you cannot beat natural lighting and when you combine the natural light with a studio environment it is magical and gives more of an honest and real look to the imagery. These are all subjective opinions and what works for my work and style of photography, but get yourself use to working in both environments as you never know where the next commission or project will be based.

60

61

Do you find it difficult to balance personal projects and commissions? How do balance the two?

It can be difficult to balance personal projects and commissions, especially if there is lots going on in terms of commissions for magazines, designers, collaborations and then I get inspired to get my project moving forward at the same time. It can get very consuming. I think I am quite good with managing my time; I like being kept busy and trying to have a constant workflow because like a lot of creatives, there are periods where work does dry up so I think it is always good to have more than one project going on at one time.

I know this sounds simple, but I manage by having a diary that I carry everywhere. One of the things I loved about University was the routine but when you have graduated you have to make your own routine, and find ways to balance not only your creative work but jobs you have to take on in order to continue your personal work. So, having my diary has been a life saver. When it comes down to creating different projects, my personal work lies between fine art and fashion and as they go hand in hand with each other, it can get confusing to create stories for commissioned pieces at times but I am lucky in the sense that I can, not only separate the two, but also combine them both together. I think the hardest thing for me a lot of the time, is to decide what designer/garments I would like to work with on commissions and which designer to use for my personal project as sometimes they collide with each other and when this happens, I switch between using my digital camera and my Polaroid camera. Time management is a skill you learn and get better at as you progress through the industry as it moves quickly, and you have to be able to move with it. Like I said, it can get consuming and I do wish I had a hobby outside of photography to help me manage more but my diary is serving me very well at the moment and I would advise everyone to get one.

What are some of the biggest difficulties you face and how do you overcome them?

I think one of the biggest difficulties I face daily, is the fact I do not live in London and commute for photography work, meetings and interviews. I have no issue doing this as I have done this since I was sixteen so waking up at five in the morning to get to a meeting or shoot for nine does not faze me. If having a career and becoming a fashion photographer is what I want to be, I must get up, do the commute and hustle. I do not let the fact I do not live in London stop me for wanting to achieve my dreams or stop creating the work I want. Yes, it is not convenient or ideal in some cases and the trains are always delayed or cancelled but I always get the earlier trains to avoid being late and I get the later train if a shoot or meeting runs over, it is what you have to do and I always try and figure out ways of making situations work and overcoming obstacles. Another difficulty I face, is more on a personal level as I am overly critical of my work and compare myself to others, which in turn, actually stops me from wanting to progress in fear of not being good enough and lacking confidence; especially as a young photographer. We are expected to go to the best Universities, work on the best productions, have the best cameras and acquire all these skills and that is just to apply for a runner position at a studio. That is a lot of pressure to put on someone and being outside of London your chances are automatically lower because there is a stigma in the industry. The notion that you cannot be creative and not live in London is real and experienced this first-hand. Comparing myself to other aspiring and young photographers especially those in London, does have a negative affect on me however, it is something I am sure we all do at times. I think the more I have started to realise that, the more I want to create work, the more I am not afraid to ask people to collaborate with me for a project and publications so you have to let go of that comparison in order for you develop What’s your favourite project you’ve worked on?

One of favourite projects I have worked on was a curator internship that I did in October with an incredible lady called Sandrine Servant who runs the Mina Raven organisation. It was such an amazing three months and I learnt so much from managing social media and website posts, to contacting printers and being responsible for fellow interns. It was one of the most nerve-racking things as I interviewed interns to help with the exhibition and make sure everyone was doing ok and knew their individual jobs. It was hard but I absolutely loved every aspect. I love being a part of a creative atmosphere and networking with various creatives across all disciplines. I felt incredibly lucky to have been a part of this exhibition and meeting with new people it was brilliant.

Another project that is one of my favourites is ‘La Vie En Rose’. I never envisioned when shooting this very simplistic project in my home studio, that it would then later be published with French Fries Magazine. I loved the combination of the designer’s collections and the model who I collaborated with. It was just one of those days, that as a photographer, I knew everything was going to be perfect. I used my Polaroids on that shoot too which really started to take shape for my project and what I have wanted to create with them for a very long time. For me, even though I had been working on my personal project with my Polaroids for a while, it was the beginning of something. I had followed my instinct in what I wanted, and I think that made the difference and why this project has been one of my favourites to work on. .

62

What advice would you give those looking to get a job or be a part of the industry?

The advice I would give to those looking to get a job or to be a part of the industry is to never give up.

I know that sounds obvious, but there will be times where things have not gone the way you wanted, or you did not get the job you were hoping for or a shoot goes pear shaped. That does not mean you should give up, you will go through phases of feeling like you should not be in the industry however, you wake up every morning and all you can think about is shooting, or styling or creating a great garment, then that is where you are meant to be. The creative industry is a marathon not an a 100m sprint and by going at your own steady pace, will have its reward. Everyone’s journey is different and that is important to understand but do not let that stop you from having the drive and determination to make things happen for you.

Another piece of advice I would say, is to be brave and go for it. Those who do not ask, do not get and it is something that you need to carry with you. It can be daunting asking brands for collaborations or work and reaching out for experience when a company has not advertised for applicants. If you do not phone someone up or send a simple email, you will not progress and learn, and even if it not not the response you were hoping for; to get a response from people is incredible and it is little positive moments like that, you should be proud of too. There is no right or wrong way about getting into the industry and everyone’s approach is different, but you must have the courage and conviction in everything you do. Lastly, do not try take this journey alone and do not be afraid to speak to close friends, family or peers as it can become a lonely place for any artist. It could be about your work maybe just life and how you are feeling or asking someone close to read an email or submission. Those little things can make all the difference.

63

ignature tyle

We speak to Anna Featherstone, a digital illustrator in her last year of university, on the rocky road of experimenting and changing paths and techniques for what works best for you.

64

65

Anna was introduced into the world of illustration at a very young age, those around her saying she was born with a paintbrush in her hand! She would always be creating little fashion collections and after starting to study graphic design and photography, she transferred her skills into digital form.

Not all creatives will find their signature style to begin with and this is the same for Anna, still experimenting with style but for her it will always centre around fashion illustrations. She states that her style has varied a lot since starting Instagram, trying out hand drawn pieces and digital painting but when she found flatwork vector style, she found her love for it.

“I’m not swayed

sure what drew me to drawing strong

towards female

fashion figures

in

particular I just always wearing cool clothing.”

Even with a hearty educational background behind her, Anna learnt how to illustrate through trial and error! Taking graphic design for the duration of school, Anna then chose to study graphics and photography at A Levels among other subjects, as the two of them linked together nicely. “I honestly think I just love to design and learning new ways to draw.” Whilst always having used Photoshop to complete her drawings, Anna now uses and experiments with Illustrator after starting university and is now finishing her final year on an Art and Design course at university of Leeds.

Featherstone’s history with studying graphics is also the reason she prefers to draw digitally than by hand.

“I love the ease in being able to change colours so quick, as I always used to forget to make sketches on tracing paper and end up ruining the piece by rushing the process!” When finding your style you have to discover what works best for you and experiment with everything. Anna found that she enjoyed being able to create simple illustrations and learning how to make a piece of 3D through flat colour. Whilst she has stated she is self taught, Anna has assured there is plenty of lessons of YouTube and is one of the best places to go!

Something creatives find a lot of, or in contrast little of, is inspiration. Anna tells us that a lot of her inspiration stems from draw this in your style challenges. “I think they are honestly one of the best challenges to come out of the art Instagram world, and really helpful for when you feel like a creative block is coming on.” Currently she is enjoying re-creating popular brands within her style, making them more modern and can’t resist adding a polar neck. Everyone has their own few people that inspire them the most, for Anna this is @ivytran.art and @stickycookiie on Instagram as they also use flatwork vectors to create pieces.

In respects of creative blocks, this is something creatives can face a lot in their time and this is one of Anna’s biggest challenges’ she faces. “My mood with art sometimes becomes very fickle because I spend a lot of time comparing my work to other artists.” Whilst platforms such as Instagram are a great place for sharing work, it’s not hard to become disheartened when your not posting your work daily when other artists are. This is not an uncommon feeling as Anna and those alike have all felt like this at points, especially when going through a creative block.

“I have a better grip on controlling this now as I take regular breaks from Instagram if I start feeling slightly down, and this helped a lot to regain focus and create new pieces.”

66

67

68

A lot of creatives will have a go at freelancing, working on commissions and collaborating with others. No client will be the same and some are much more specific than others. For Anna, so far all of her clients have given her full creative freedom. It can be difficult to balance so many different projects all at once especially when you are in education and trying to complete additional projects. “With uni I find it really difficult at the moment, but now I am coming to the end of my degree I feel like I will be able to manage my time much better.”

Taking on freelance projects also helps make a bit more of a to your portfolio as it cannot always be that easy to make industry today. This being said, Anna reassures that there is Instagram regardless of how known you are, which can be a

name for yourself and adds a name for yourself in the a great art community on massive help to begin with.

“I have made some great connections and friends such as @ albyartsofficial which I would not have had the opportunity to previously. The connections you make with people make it worth the big step of creating an account in the first place.”

Alongside freelancing taking on projects outside of education and work can really benefit you in the future, especially in the creative industries whether this be something your experienced in or not! “Recently I have started experimenting with polymer clay and trying to make clay earrings, even though I am not great I really enjoy it and it’s so relaxing.” Anna states that it’s crucial to find something you enjoy doing which relax’s you at the same time.

“I feel like in the fast world we live in today people can become too focused on social media and doing everything at 100 miles an hour but it is so important to stop and take some time for yourself.”

69

1

Back Yourself If you know you are good at design and want a career in it, take the leap and don’t settle for something safe which will pay the bills.

Many artists do art whilst working other jobs and it may be hard during it but it will pay off. I think there is a conception that famous artists just got to where they are with a magic ticket, but they all went through the difficult times to get to where they are today.

70

71

72

2

research In terms of university, take your time in choosing the right course for you.

Even though I am grateful for all the experiences I have gained from going to the University of Leeds, I do feel like I chose the wrong course. My course allows experimentation within the whole art and design spectrum, but I wish I had of taken a more specific course like illustration at Leeds art Uni.

73

74

annafeatherstoneee.myportfolio.com

75

The Style Guide We speak to Eleanor Stennett, a style writer across Closer, Bella and heat magazine at Bauer Media since November 2016.

76

For those who aren’t quite sure, Eleanor’s job as a style writer is mostly researching and writing articles on a range of topics including fashion, beauty and interiors. Alongside this, she also does a bit of styling work which can include dressing celebrities, compiling flat-lays and styling models on main fashion shoots.

Luckily enough, Eleanor always knew she wanted to do something within the media industry after growing up always loving magazines and was an avid subscriber of Sugar magazine. With her love of media, this helped Stennett narrow down her options and attended Rotherham College of Arts and Technology after school where she studied Media Production. This involved units of Film, TV, Radio, Animation, Print etc, where she found she loved print the most and discovered this is what she wanted to pursue at university.

“I decided journalism was a little too broad (and a little too serious for me as I wanted something a bit more ‘fun’) After some research I narrowed my choices down to Magazine Journalism and Feature Writing at Southampton Solent or Magazine Journalism at Sunderland University, eventually settling on SSU.” When you have many interests it can be hard to decide what you love writing for the most. For Eleanor, she wanted a job role that she enjoyed and had personal interest in; “I love anything to do with fashion and beauty, so liked the idea of being able to turn my passion into a career.”

A lot of individuals wonder whether university is always worth it and if they should try and go straight into industry. For Eleanor, she states that university was a great path for her chosen career. In the case of print writing, most media houses and a lot of jobs consider a degree a desirable thing to have.

“I think having a degree also helps when you are trying to gain work experience too.”

Whilst magazine companies are not the easiest to get into, they are definitely rewarding. Eleanor had her first experience of the Magazine world in 2014. Like many different universities, they require students to obtain two weeks work experience as part of a module. Eleanor faced what unfortunately a lot of creatives will come across, applying and emailing many different nationwide titles, but hearing nothing back which can get a little discouraging for some, including Eleanor. “Eventually I managed to secure two weeks experience at a magazine entitled We Are Chic, based in my hometown of Sheffield.”

Stennett describes this as being actually a great place to start with it being a small company, she was given a lot to do in comparison to much bigger company internships. With smaller places like this, you would normally get asked to take up opportunities you wouldn’t normally get to. Eleanor was trusted to attend a live version of Ant & Dec’s Saturday Night Takeaway to do a write-up afterwards. Stennett states that after adding the smaller magazine onto her CV it became easier to get experience at the bigger magazines. After this, alongside studying she managed to get work experience at Heat, Fabulous, New and Star magazine and when finishing her studies in 2015, managed to get a job writing online articles for a website. Job opportunities can be sparse in advertising so getting anything to begin with is always a great way to broaden your CV. Eleanor was at the company for almost a year when she saw a job at Reveal Magazine and whilst she didn’t get it as it was a senior position, a few weeks later was emailed by her boss saying Closer were looking for a style intern. “I left my full-time job shortly after and started at Closer. Although there was no guarantee of a job at the end, I was offered a full-time job role less than a year into my internship, and have been at the company ever since.” After closure merged in 2017 with the other Bauer brands (Heat and Bella) Eleanor started working across all three.

When looking for placements, sending out letters/emails/CV’s can be time-consuming but Eleanor ensures that it’s all worth it in the end. “A tip for sending them is to try and make each letter personal to the magazine you’re applying for.” Work experience is paramount and quite an essential thing to have. Eleanor stresses that it not only helps you to get an idea of what working for a magazine, newspaper or website is really like, it also helps us to notice you. “We’ll often ask good work experience to come back and during the time I’ve been at the magazine two of our Work Experience people have become interns and now work for us full time.”

77

78

So love writing but not sure what makes a good article? Eleanor states that it must be engaging. An attention-grabbing headline and sell is a must in magazines otherwise readers will just carry on turning pages. “Your articles need to be informative and interesting, and for my current role, I also have to sound like an expert without over complicating things for our readers.” A simple yet informative tone is essential. It’s always difficult to establish whether to include your own personal taste into articles. Eleanor encourages that it’s important to have you own unique style and taste, but when writing it’s important to put yourself in the reader’s shoes and think about what they would like. “I’m lucky that the titles I write for have a very different readership, so something that a heat reader would like, wouldn’t necessarily suit a Bella reader, so I’m constantly switching up the products I use and feature in my work.” Whilst Eleanor’s personal taste is very simplistic fashion sense and loves all things black, white and beige, she will sometimes have to write a trend-led piece on things such as clashing prints and neon. Whilst she wouldn’t necessarily wear those types of things, she needs to be able to inform the readers on how they should.

Eleanor tells us the biggest things she has learnt through studying and her course is helping her develop confidence. Conducting interviews can be extremely nerve-racking especially when just starting but now Eleanor states she feels calm and collected when conducting them. After one of her units involved going into town to seek out stories where she hated having to approach strangers, being forced into the situation helped her confidence grow and no longer feels nervous when chatting with interviewees and celebrities.

Even after years of her job, Eleanor tells us she’ll still get random days where she struggles to think of a snappy head or another word for skim or outfit etc and tells us that having a great team around really helps as you can brainstorm ideas off one another.

“Don’t be afraid to ask others for help or support, sometimes your mind can go blank after looking at something for too long.”

So, Interested in fashion writing? Whilst it sounds cliche, working and studying hard will always take you where you want to get. Taking everything in at university and using the time to figure out what you want to do is also a great confidence booster as well as benefitting your future. “Uni is a great time to just slow down and think about what you really want.” Whilst work experience can be a pain and your lucky enough to get invited to a magazine, just be positive. “I had my fair share of sitting around bored, having to photocopy page after page and make endless cups of tea, but a positive attitude shows you’re willing, and will more than likely result in your being offered more fun and important tasks.”

When carrying out work experience, 1-2 weeks is always a great time and Eleanor tells us it’s great to try being on both the fashion and features desks as they can be really different and give you an idea of what type of stories you want to write.

Internships may be low paid but are a great way to get your foot in the door at a magazine and gain experience doing proper tasks.

“Apply for everything - even if you think you are under-qualified, it could lead to something else.”

79

CREATE . INSPIRE . SHOWCASE

EXHIBIT

80

COMING SOON

THE NEW APP FOR CREATIVES 81

A New Age of Tech We speak to Quanta Cory, a third year Fashion and Textiles student at University of Portsmouth. She tells us about her journey through education to being about to graduate and the new direction creatives should take towards the fashion industry.

82

83

Not everyone has a clear idea of the initial subject they wish to pursue. For Quanta, she was always a creative child and knew she wanted to go into the design industry. Her love of textiles came from when she was back in secondary school and attended textiles and design clubs on the side of school which was Cory’s first taste of designing. Not until College did she realise she could do fashion as a degree and could turn her hobby into a career. This is something a lot of individuals are un-aware of. Even if it’s not design, there is most certainly a fashion degree out there that fits your passion.

Before university, Quanta studied Art and Textiles as part of her GCSE’s and then to a combined course of Art Textiles at College as an A Level. Cory tells us that the subjects really provided her with the background skills for drawing and designing which she could then apply to aspects of her university course. Despite this, she never had any experience of fashion before university as she came from a textiles background but states that her degree helped her utilise the strengths she already had and put them into practice alongside learning new skills about fashion. For those interested in pursuing a fashion degree or A level, it’s important to remember that it does not matter if you have had no previous fashion experience, a passion is entry enough.

Choosing Universities is a big decision for many and a big turning point if you choose to go down that path and it scared Quanta like it does a lot of creatives. To narrow down options, Cory attended the New Designers in London which allowed her to look at the type of work and skills each university had to offer whilst also knowing that she wanted to be down by Southsea which helped chose which universities she would apply for. “I highly recommend looking around your chosen universities to get a feel of the atmosphere and space you are going to spend the next three years.” You can also gauge a sense of the place during university interviews. For Quanta, she found that Portsmouth was the most welcoming and interested in her as a person and a designer whilst the work environment and lectures stood out to her. “Also take into consideration the location of the university and living environment (and night life!) as these are equally important. You’re also there for the experience as well as the degree!”

But onto fashion! Many young designers can find it hard to decide on the type of work they wish to produce and everyones inspiration will play a massive role. For Quanta, the environment around her is the inspiration she needs. Heavily inspired by objects, this shaped her final collection being based around retro technology of the 1980’s. “Sustainability is also an important aspect that I always try to focus my work around. For my final collection, all the denim and velvet fabrics are 100% up-cycled along with the recycled plastic CD wallets.”

Some of her favourite designers include Balenciaga and Christopher Kane alongside many other influences.

Speaking of final collections, this is something many design students will have the opportunity to do at the end of their degree. Quanta states that a lot goes into this project so the more you spend planning and experimenting the better. “Having a clear idea of what you want to produce always helps, but ideas stem from the smallest ideas and as long as you allow them to grow you never know what you can achieve.” The final collection or any final project is the chance to show off your skills and go as crazy as you want with designs and patterns, the chance to roll with any ideas.

Alongside creating garments, finding the right models for shoots is something you also have to take into consideration. Cory tells us that if you have a clear idea of who you are aiming your garments towards then the models will come naturally. “Model’s are just as important as photographers; I would suggest making friends with photography students early on as you will most likely collaborate with them in later units.”

84

85

lik

y

p 86

0’s

98

t ar

h t e e1

Something a lot of young creatives take into account now more than ever is sustainable living and the effect of fast fashion on the industry. “It is up to designers to challenge the fast fashion and hopefully steer the industry in the direction on slow fashion.” Whilst designers play a massive part in it, Quanta states that it’s something we all should take into consideration when buying clothes and it’s up to the consumers to buy from sustainable brands rather than give in to fast fashion.

University and the industry can offer a number of challenges, none that no one can overcome however! One of the biggest challenges at university that Quanta had to overcome was getting to grips with computer software such as Photoshop and Illustrator. “I came to university without having touched either of them, but these are skills your degree will teach you and spend time on and now I can create presentation boards, fashion illustrations and fashion flats to name a few.” Quanta emphasises that university is really a place to grow and expand as a designer as they encourage you to make mistakes so you can learn from them.

Another factor that designers have to overcome is beginning to make a name for yourself within the fashion industry. We asked Quanta if its more difficult now more than ever.

“Social media presence plays a big part in being able to get your name out. You’d be surprised at how many people come across your Instagram account.”

Cory suggests that interacting with your favourite designers and having a clear aesthetic as a designer and starting that account early in your degree really helps in the long run.

“If you take advantage of opportunities presented to you, it will help give you the building blocks in the industry.”

When it come to opportunities, for many creatives, work experience and internships are a massive stepping stone whether it helps with connections or portfolio development. For Quanta, her university had a whole unit dedicated to internships and work experience like many creative courses.

“Even a couple of weeks or months working in the industry can give you a good idea of what to expect after you graduate; it will also allow you to work out what aspect interests you the most and what you’re most strong at.”

that h e r

So, interested in design? Not sure where to be looking? “If you love it, do it!” Quanta advises to just research what interests you the most as there are so many different courses out there. Her love was both fashion and textiles so picked a course she could combine the two allowing to grow and explore both areas.

87

88

89

From Idea to Career

Ever wondered what goes on behind the scenes at your most beloved fashion events? We speak to Kristine McPherson, the founder of event organisation The Famus Agency on the importance of marketing and events.

90

Always having been interested in fashion, Kristine would always wear clothes ahead of the game as a kid thanks to her stylish aunt who was into fashion and shopping. Her love of patterns, styles, colours and textures had always deep down been more than just an interest.

For Kristie, marketing came completely naturally. Before she knew that she was doing marketing, she found various ways to tie her educational background of understanding performance through numbers and understanding the story those numbers told, to then be working with brands and using her background knowledge to build their business. “As the years went on, I learned to hone that into building better marketing strategies.”

Contrary to popular belief, to understand strategies and the way of marketing, you don’t always have to pursue events at university. Kristine took an undergraduate degree in Statistics and a Master’s in Professional Writing.

“I went for a writing degree because I understood that you have to learn to communicate in different ways to different audiences, especially numbers and results.” Kristine states she also learnt that the way a story is told has a huge impact on the message that is relayed, which is always one of the outcomes of the events she throws.

“When it comes to marketing and advertising, the content that is used and the method used to share that content impacts the person on the other end and helps to influence the decisions they make from that piece of marketing.”

Kristine has had a great career working with brands in different verticals having the chance to work at agencies, brands and publishers when she decided something was missing. This is where her inspiration came about to start up The Famus Agency. “Starting The Famus Agency allowed me to not only work with brands in fashion, but also educate other and connect people with shared interests in fashion.” This can be from panel events to workshops and networking events, creating a space to bridge the gap for those who want to learn more.

“Starting begins with an idea and when you can identify what is missing from what you’re doing and tie that into your passion, it makes the vision clearer.” After you come up with the idea and have an idea of what you wish to achieve you can begin to do your research. For Kristine, this took the form of connecting with others in the field, attending events to understand not only what was going on in the marketplace, but to see that there was a need. Building networks is vital and allows you to work with your very first clients and to have others refer business to you. When the need of the business has been worked out, here comes all the paperwork. The business then has to be registered which Kristine also hired a consultant to ensure all the right paperwork was being filled out and research was done to make sure the right steps were followed. Remembering that you don’t have to do it alone is essential. There can be some fees with the process so having someone to file and being able to ask questions to is a great support.

91

“Content is Queen and

King but Engagement the Queen rules the

is the house.”

This is Kristine’s quote she lives by when pursuing the art of storytelling through creative content.

“In today’s world, it is important to show who you are and what you have done for people to buy into you.” She states that as a brand. the quality of your content can severely impact whether people interact with you and want to build a long-lasting relationship with you or your brand. “To make sure you’re setting up the right intro for your story, you need to understand your audience, where they are, and what they are interested in.” Kristine assures this will help you effectively communicate with them and help determine the right content to create and where to place it which essentially is your story line.

Event hosting and management is a ladder you have to climb. Even though the quality of your event means everything, Kristine tells us that this doesn’t mean you have to start with the finest venue and 5-star meals, unless that’s what it takes to cater to your audience! “You have to show the value of what you are creating and think about what people can gain from your events, what you want them to take away.” After you’ve made that priority, Kristine states that you can work out all other details and what things are important for your audience to make a worthwhile event.

Still murky on what an event manager plays? Well…many! “One of the beauties of marketing is that it can allow you to play many roles.” Kristine’s roles include looking over strategies or holistic campaigns and takes into account the many different factors that go into that plan. This means she has to oversee many arms and legs of a campaign to make sure all the right pieces are in place from social, to PR to events. “It is a role that relies heavily on logistics, production, and management to ensure that a marketing campaign is well executed.”

Like any path or profession within the industry, there are going to be challenges to overcome. “One of the biggest challenges has been recognising that this all doesn’t have to be right now.” Kristine can relate on having so many great ideas you want to execute them all perfectly and as soon as possible! However ensures we don’t have to do this all at once. “Building a solid foundation is important so while multitasking is great, it shouldn’t come at the expense of your work.” Contrary to popular belief, Kristine does settle us and let us know that it’s okay to work at your pace as long as you’re working toward a goal.

Another difficulty she has overcome is that too much information is not always a good thing. “I have learned to slow down and focus on the important parts, identifying what is most relevant and not overloading them with information.” Too much information can cloud judgement but it can also slow down the time it takes to make a decision.

The industry is always fast paced and changing especially with the use of social media. Kristine states that because this and the digital rise, it’s always important to stay on top of and ahead of the curve. However, despite this, she tells that that it’s actually also made it a little easier in the sense that it closes the access gap between people and brands. It can also widen the competition because the point of entry is a lot easier to access and why it’s important to stay on top of the curve.

92

93

“If you can find your passion, show consistency, and be authentic, over time, you will develop the credibility and trust in turn, build a name.�

94

1 2

Experience it for yourself “Go to events, meet people who attend, understand the audience you want to create events for by seeing what they look for, and how they want to be treated at these events. “

Value over everything

“It is very important to understand the need for what you’re doing because when people can see the value, they will come.”

3

Show your worth

“Make sure you can show why there is a value and why it is something people need and you can do this with good content and great marketing.”

95

i

n

versus

VS

ry

ED

U

T I O A N C

t dus

One of the biggest debates still to this day is whether university is worth all that it’s cracked up to be.

Many go to university wondering if they could’ve dived straight into the industry out of college. This being said university has really helped some that never thought they could be a part of the fashion industry.

We’re here to show you all of your options and hear from those who have gone down each path and how it worked for them. Of course, it is difficult to speak for everyone and we cannot umbrella each area of the fashion industry due to the amount that differs between them.

96

susrev

First up, University. The long ended debate as whether it’s worth it. Well, it all depends on the type of person you are and how you respond to different situations. Whilst many argue that it’s just as easy to walk straight into a job, university can offer skills that not everyone will initially have coming out of school or college. For starters, university is great when your not 100% sure of the part of the industry or profession you want to go into. For many individuals, they don’t work out, or decide what they want to do until second or third year, when they have been able to explore different areas of the industry. Studying more generalised or umbrella course is great to broaden your opportunities and discover areas you never through existed.

Some individuals feel like it’s great to use university as a stepping stone. “If it weren’t for university, I wouldn’t have near enough the amount of confidence I do now and the confidence I need for industry. Upon this, I wouldn’t have a clue that what I now want to do was even possible.”

For those that may not be as confident in their skills or themselves after school, university is a great way to help further this and show you that you can and do have what it takes to make it in industry. The practical projects you carry out throughout your time at uni, really contribute to your CV and portfolio, further helping you get an internship or job. It’s a great way to carry out collaborations and allows you the creative freedom whilst learning the ropes and different skills.

University is a big investment so it’s always good to weigh up your options, the pro’s and cons, if your interested in attending.

In comparison, there are many people who have skipped straight over university and dived straight into the world of industry. Whilst this may not work out for everyone, there are some it definitely works for and thrive on learning on the job. Studying certainly isn’t for everyone and honestly find it easier to find a different way in. If university isn’t for you then work experience and then internships are great ways to get your foot in the door. Collaborations are also a great way to help expand your portfolio and especially to fill time throughout the slightly slower parts of early work experience.

Kaltrina Sopa states that “you’re told you have to go to university, but now I’m actually in the job lots of people say you don’t need a degree.” She worked her way up to eventually become assistant buyer at River Island through work experience and temp jobs.

The one thing people need to be aware of going straight into the industry is that it can be difficult to find these opportunities straight out of school but this is where work experience comes in handy! Those who are completely confident in their skills and are happy learning on the job in this fast paced industry will value the hands on experience to discover the industry for themselves.

Thirdly there is the option that’s less popular but is still a viable option. If you know further education definitely isn’t for you, but you’re not sure about diving straight into industry then an apprenticeship may be worth looking into. Ada Anoje stated that “I think for anything that’s creative and hands on, it’s so much better to go straight and direct and work your way up through different companies.” Apprenticeships give you a chance to earn money on the job, learn whilst working and come out into a job without the endless years of work experience.

The only thing to be wary of is, that nowadays it’s much harder to find apprenticeships and it has been agreed that there are still not enough so you must be prepared to do your research into the great ones that are out there.

There are many additional options out there such as post-graduate degrees and foundation years. All it takes is a little bit of research to find the path you want to venture down. Any path is a supportive one and it is never to late to change tracks if you change your mind.

97

G

E

LVED an O V de N nt TI

er

in

ee W

D

EX 98

https://dribbble.com/

E

O PL

Top d E R

’s BE IN r m Up S Wa P IR

esigners, jo bs &

kl y

Blo gs

Dribbble is the leading destination to find & showcase creative work and home to the world’s best design professionals.

Interning in a Digital Age

First starting out can be an extremely nerve-wracking experience for some more than others. Anxiety levels can sky rocket if your anything like me and start to over-think new experiences. You’re not alone. The prospect of internships and first stepping into the industry can be daunting to many but there are now even more ways to help you ease into this.

In my third year, the thought of doing an internship terrified me. Never having experienced industry before and becoming nervous at the thought of new situations I started to doubt myself. But then I found AlphaOmegaLondon. This was a three month internship being a digital marketing assistant and honestly, I had no clue what that meant. I have no idea what drove me to apply for the job but I’m so happy I did. The internship was being advertised as a London based affair but after speaking to the women hiring, I soon found out that I could work everything remotely from home. This was music to my ears as the thought of travelling up to London on my own everyday did not sound appealing to me and only added to the stress pile. Don’t get me wrong, I will be doing all this eventually but this was a great way to ease myself in to the industry and prove to myself that I had what it takes to impress employers.

Whilst I still travelled to London it was a lot less often than I first thought and I was able to then learn a route and make more of a day of it. This came after a two step process they carried out to see if I would fit the job they were after. After submitting my CV, they accepted and asked me to write up a short brief on the companies competitors and standards. I did what they asked but with a twist. I chose to do the research and present it like you would a brief you would upload for a pitch, carried out on InDesign, exported as a PDF with backed up information. They loved this and is what got me to the next interview stage so it’s always worth going the extra mile. I then had a phone call for the company to see what I was like and that moved to an in-person meeting to discuss the final steps of accepting my internship and what they wanted me to do.

But how did working from home pan out? Well even though I was grateful I could do things remotely from home it did prove even more difficult at times. We had weekly phone calls to review the work I had done for them and other jobs they wanted to to complete for them. This sometimes made feedback a bit more difficult but it still worked out great. The experience in itself was amazing and gave me a massive confidence booster as well as even more experience to put on my CV and extra work to add into my profile.

The more I worked from home, the more surprisingly it made me want to be in an office. Whilst before I was terrified of travelling and experiencing a busy office, it has now made me want to be in that environment, to feel like I am part of the workforce and to have a structured day. One thing I did find difficult was keeping me focused to complete the work on time as it’s easy to get distracted working from home.

All in all, the experience has definitely made me more confident and ready for the big wide world of the fashion industry.

Text: Megan Walker

The moral of the story is do not be afraid. Now more than ever there are plenty of opportunities and platforms to work your way up to industry. More and more internships are being made so you can work from home especially through the COVID period and this way will definitely be adapted even after. There are so many options for you out there, no longer is it just black and white. Be excited to intern and be excited to be producing more content.

99

INSPIRING THE FUTURE

100