Notes From The Fashion Debates On Mental Health

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A massive thanks to everyone who came to the latest edition of the Fashion Debates at The Trampery Republic in London. We had an outstanding discussion about the mental health problem that we face in the Fashion and Creative Industries, with a panel led by Olivia Pinnock in conversation with designer Charli Cohen, Dr Jonathan Gander from The Haven + London and business consultant and facilitator Fabian Hirose.

Employees in creative careers such as fashion are 25% more likely to experience mental illness. Dr Jonathan Gander started the discussion by saying that “young people are amazing, that’s why I like working in a university. But I do see vulnerability. The cost of [the creative industries] production is often hidden. It’s not the money, it’s often someone”.

Designer Charli Cohen said that “the creative industry will either help with someone’s mental health issues or actually worsen them” and “you can’t complain about it, [because] everyone [else] is stressed. In fashion, it’s [seen as] ‘normal’”.

Fabian Hirose added that “we [designers] need to give meaning to existence. We are trying to solve the problem for others, and we do so at the expense of ourselves”. Cohen agreed by adding that “as a designer, you’re expected to draw inspiration from your lowest low to create, and it’s a lot of time to spend there.”

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For Dr Gander, the problem lies at the top levels of the industry: “when I meet successful people, what I often experience is the attitude that ‘I went through this, I struggled, you have to struggle for it too’”.

So, what can we do about it? How can we take better care of ourselves? As Olivia Pinnock explained, freelancers make up a significant portion of the workers in the creative industries. Without a support network, creatives can feel isolated and lonely, which contributes to developing mental health issues. But the problem does not only lie in the freelance community, almost 95% of creative industries businesses are micro-businesses (less than 10 employees), according to figures from The Creative Industries Federation.

“As a freelance, you need to set your own boundaries, even if it sounds counterintuitive”, Cohen said. And Hirose added that “even if you’re a company professional offering independent services, communities are very important. We need to form [supporting] communities to survive”.

Apart from joining or creating supporting communities yourself, what other things can be done? “Keep the conversation going on every forum you can”, Cohen responded. Dr Gander said that “professional help is available, don’t be afraid to take it”. And, everyone agreed with Hirose when he added that “it’s an individual journey, there is no linear solution”.

During the Q&A part of the discussion, the audience asked what can we do to detect if someone is struggling with mental health issues and, if so, how can we offer support? Dr Gander explained that “it’s not something you can catch early and just treat it there and then. When you recognise it in someone, just be prepared for whatever can happen next, but don’t force it”. Hirose finished the discussion by saying “Vocabulary is very important”, you have to be very careful with what you say to someone who you suspect is going through a rough time.

Thank you so much to everyone who came to be part of this discussion. Like Cohen said, we need to keep this conversation going. This is an industry formed by people who really love what they do, sometimes at the expense of themselves, as Hirose taught us. That is a high price to pay to keep businesses running, and it’s the most expensive cost that the industry faces, paraphrasing Dr Gander.

Thanks to Olivia Pinnock for allowing me to be part of this beautiful event! If you haven’t been to one of these discussions yet, learn more about The Fashion Debates on their website.

About The Fashion Debates

The Fashion Debates is a London-based event series run by fashion journalist Olivia Pinnock that explores ethical issues affecting the fashion industry. From sustainability, to diversity, to animal rights, and workers’ rights, their aim is to make the industry as beautiful as the clothes it produces.

Photo credit: behind the scenes by Andrzej Gruszka.

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Panel Discussion And Networking

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Last chance to get your tickets for tomorrow’s edition of the Fashion Debates at The Trampery Republic in London. Olivia Pinnock will be leading the conversation with the panel formed by Charli Cohen, Dr. Jonathan Gander from The Haven + London and Fabian Hirose.

We will be discussing the state of mental health in the fashion industry, how to deal with the pressures of our jobs, how to take care of ourselves but also how to support those who are going through a rough patch.

Get your tickets here.

Event information

  • Date: May 30th, 2019

  • Time: 7 pm to 10 pm

  • Location: The Trampery Republic, Import Building, 2 Clove Crescent, East India, London E14 2BE

The evening

  • 7 pm Complimentary welcome drinks

  • 7:30 pm Panel debate

  • 8 pm Questions from the audience

  • 8:30 pm Networking

The panel

  • Charli Cohen: Founder of Charli Cohen tech-wear and mental health awareness initiative Shades of Blue.

  • Dr Jonathan Gander: Associate Professor for Creative Industries, Kingston University, and Chair of The Haven + London, the only UK charity solely dedicated to supporting the emotional, spiritual and mental well-being of the creative community.

  • Fabian Hirose: Business Coach who runs workshops on Fashion Burnout designed to answer the question “Why do Businesses & Individuals within Fashion Systems Collapse?”

About The Fashion Debates

The Fashion Debates is a London-based event series run by fashion journalist Olivia Pinnock that explores ethical issues affecting the fashion industry. From sustainability, to diversity, to animal rights, and workers’ rights, their aim is to make the industry as beautiful as the clothes it produces.

Photo credit: taken by Anna Klepikova during one of the previous debates.

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Mental Health Awareness Month

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As I explained in my previous post, May is Mental Health Awareness Month. We are very aware of the need to take care of our bodies to live healthier lives. But, feeling better and living a healthier life is not only about taking care of our bodies. We must also learn how to take care of our minds. If you are in London this May 30th, 2019, join me as I host a panel debate on Mental Health in the Fashion Industry where we will explore the relationship between creativity and mental health.

The discussion will be led by Fashion Journalist Olivia Pinnock with a panel formed by:

  • Dr Jonathan Gander - Associate Professor for Creative Industries, Kingston University, and Chair of The Haven + London, the only UK charity solely dedicated to supporting the emotional, spiritual and mental well-being of the creative community;

  • Charli Cohen - Founder of Charli Cohen tech-wear and mental health awareness initiative Shades of Blue;

  • And Fabian Hirose, a business coach who runs workshops on Fashion Burnout designed to answer the question “Why do Businesses & Individuals within Fashion Systems Collapse?”

Get your tickets here.

Photo credit: behind the scenes by Andrzej Gruzska.

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Fashion Debates On Mental Health

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Since 1949, Mental Health Awareness Month has been observed in May to raise awareness and educate the public about mental illnesses like depression, anxiety, panic attacks, body image, anger, eating disorders and loneliness, among others. This year, I will be co-hosting an edition of The Fashion Debates dedicated to Mental Health in the Fashion Industry with fashion journalist Olivia Pinnock that will take place at The Trampery Republic on May 30th. Join me and fellow professionals passionate about this topic as we explore the complex relationship between creativity and mental health.

Does the way the industry operate lead to mental health problems in its workers, or are creative people more pre-disposed to mental health problems? How can we look after ourselves and our colleagues better to ensure a healthier relationship with our work?

We’ll be discussing these issues and more with our expert panel followed by a chance to network with the rest of the attendees. I look forward to welcoming you!

Get your tickets here.

Event information

  • Date: May 30th, 2019

  • Time: 7 pm to 10 pm

  • Location: The Trampery Republic, Import Building, 2 Clove Crescent, East India, London E14 2BE

The evening

  • 7 pm Complimentary welcome drinks

  • 7:30 pm Panel debate

  • 8 pm Questions from the audience

  • 8:30 pm Networking

The panel

  • Charli Cohen: Founder of Charli Cohen tech-wear and mental health awareness initiative Shades of Blue.

  • Dr Jonathan Gander: Associate Professor for Creative Industries, Kingston University, and Chair of The Haven + London, the only UK charity solely dedicated to supporting the emotional, spiritual and mental well-being of the creative community.

  • Fabian Hirose: Business Coach who runs workshops on Fashion Burnout designed to answer the question “Why do Businesses & Individuals within Fashion Systems Collapse?”

About The Fashion Debates

The Fashion Debates is a London-based event series run by fashion journalist Olivia Pinnock that explores ethical issues affecting the fashion industry. From sustainability, to diversity, to animal rights, and workers’ rights, their aim is to make the industry as beautiful as the clothes it produces.

Photo credit: Fish © 2018 Photography by JC Candanedo.

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Does Your Mailing List Comply With The Law? - Part III

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This post is part 3 of 3 posts.

In case you have been living under a rock for this past year, the new EU General Data Protection Regulation (GDPR) came into effect on May 25, 2018, forcing businesses across the globe to reassess how they process personal data. It has been a very painful and confusing process, especially for freelancers and sole traders. That is why this month, the Information Commissioner’s Office (ICO) has launched a self-assessment checklist that will help freelancers, sole traders and self-employed individuals to assess their compliance with new data protection laws.

This new tool is meant to show freelancers and sole traders how compliant they are by generating a rating based on their responses and provides handy links to relevant ICO guidance and further information. It also includes practical suggestions of how to stay in line with the law.

This self-assessment checklist has been created with small business owners and sole traders in mind. I recommend you take it even if you have already done all your GDPR homework. After all, it is our duty as business owners to keep our compliance with these laws up to date, the same way that we do our taxes every year.

To access the the self assessment checklist go to: https://ico.org.uk/for-organisations/resources-and-support/data-protection-self-assessment/assessment-for-small-business-owners-and-sole-traders/

If you still haven’t made your business compliant with the GDPR, you can find more information on: https://ico.org.uk/for-organisations/guide-to-the-general-data-protection-regulation-gdpr/

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Does Your Mailing List Comply With The Law? - Part II

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This post is part 2 of 3 posts.

Back in October, I wrote a post about the new EU General Data Protection Regulation (GDPR) coming into effect on May 25, 2018, and how there is not enough information for small businesses on how the GDPR affects us. Now, a new dedicated telephone service has been set up in the UK aimed at helping small and micro businesses prepare for the new data protection laws.

On November 1, 2017, the Information Commissioner’s Office (ICO) implemented a phone service for people running small businesses or charities to help with the particular problems that we are facing while getting ready for this new law. The ICO is the UK’s independent authority set up to uphold information rights in the public interest, promoting openness by public bodies and data privacy for individuals.

According to the ICO's website: "people from small organisations should dial the ICO helpline on 0303 123 1113 and select option 4 to be diverted to staff who can offer support. As well as advice on preparing for the GDPR, callers can also ask questions about current data protection rules and other legislation regulated by the ICO including electronic marketing and Freedom of Information."

The ICO has also announced that they will adapt and simplify their infographics and toolkits for small and micro businesses that need access to targeted information about how to prepare for the GDPR.

In the meantime, you can find more information on:

Photo credit: Behind the scenes photography by Andrzej Gruszka.

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I Wish I Had Known About... Model Agencies!

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This is the sixth post in my series of monthly posts where I speak with people in the creative industries and ask them questions about the things that "I Wish I Had Known" when I started out as a creative myself.

Today I talk to Joseph Tenni, a Model Agent based in Sydney, about his career in the modelling industry and the role of the model agency nowadays:

1. You are a Model Agent for one of Australia’s biggest agencies; you have been a talent manager in what it seems like since forever, and you are also responsible for the discovery and successful careers of models of the likes of Andreja Pejić and Adut Akech. Where did it all begin?

I grew up in Melbourne and I was always interested in fashion and magazines. I moved to Sydney when I was 21. Originally I got a job at a fashion-focused photo library (years before google searches) and after that, I started booking models at a small agency. A short time thereafter, I started at Chadwick (April 1999).

2. Is this a career path that you choose or does it choose you? How can one become a Model Agent?

I think a bit of both. This job encompasses a bunch of things I really like—fashion, magazines, looking at the internet, teenage pop culture, gossip, foreign language. Basically, it’s a job of connections—knowing people and having the ability to use those connections to score bookings.

3. With the growing interest in “everyday people” from brands and markets, the scope of an agent has broadened from just working with models and actors to also include working with bloggers and influencers. How has this transition been for the agencies?

Good question. The job has been changing in recent times. Many clients are interested in the social following of a model. Agencies are also signing people who are not necessarily traditional models but they still obviously have marketable appeal. In order for an agency to remain relevant, it must evolve and be in touch with its clients’ needs and demands.

4. How is a model discovered? What can someone who wishes to become a model start doing right now to call the attention of an agency?

The old-fashioned way. Sending simple pictures into an agency with measurements. Preferably not professional pictures.

Joseph Tenni and Adut Akech.

Joseph Tenni and Adut Akech.

5. What makes a good model? How much of a model’s success depends on personality, talent and skills versus having notoriety as a celebrity or having the right social media following?

Aside from having a great look, desirable measurements and being photogenic, a successful model needs to have the ambition to succeed, have patience, be willing to be in unusual working environments and be charming. The ones who reach the top generally have a decent understanding of fashion, cool personal style and an individual personality. There is a current fixation with model or celebrity offspring. Those girls and boys would be successful without social media in my opinion, but they wouldn’t have experienced the fast track or the insight without social media, I guess.

6. We have come very far in terms of democratising the access to the industry of models with what until now were considered atypical ages, body types and ethnic backgrounds. Where do you see the industry going?

I see that the rules are changing and I think inclusivity is here to stay. That can only be a good thing.

7. We have talked in the past about how the Australian market is so different from the markets here in the UK and in other countries in Europe. With the shift in demands from the audiences in different parts of the world towards a more diverse spectrum of faces, why do you think that there are still markets that remain very specific in terms of the types of talent that they want to cast?

I guess tradition has prevented a diverse spectrum of talent in some markets, but that’s changing. Adut Akech was on the cover of the September issue of L’Officiel Singapore. African models have seldom been in demand with Asian clients, so times are certainly changing for the better.

8. The fashion industry has been in the spotlight over the last couple of years for the allegations of mistreatment and discrimination of models by some agents and clients (James Scully has been very vocal about this) and for concerns about the health and well-being of models (France’s BMI law, or Kering’s and LVMH’s joint Models Wellbeing Charter). What mechanisms do you think agencies must put in effect to protect the integrity of their talent and put an end to all these issues?

A good agent is one who cares about the model he/she represents — fighting for rates and for fairness. The models and agents need to speak up when there is a problem. I feel that the platforms to do that and to be taken seriously have been improving thanks to models like Sara Ziff and Cameron Russell.

Amazing! Thank you so much, Joseph, for taking the time to answer my questions and for explaining what a career as a Model Agent is about. This is everything that "I Wish I Had Known"!


If you haven't read the previous posts of this series, you can check the whole series here. I hope you liked this new post and stay tuned for a different creative each month!

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Does Your Mailing List Comply With The Law? - Part I

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This post is part 1 of 3 posts.

If you are a freelance photographer or creative (or any sole trader for that matter) who uses mailing lists to market your services or send out newsletters with updates of your work or blog, and you are based in the United Kingdom or the European Union, or email people who are based in any of the two, this post is for you.

On May 25, 2018, the new EU General Data Protection Regulation (GDPR) will come in effect. The GDPR is a privacy law which will apply in the EU and the UK and will affect anyone who processes personal information of EU citizens. The UK Government has confirmed that the UK’s decision to leave the EU will not affect the commencement of the GDPR, and it's introducing measures related to this and wider data protection reforms in a Data Protection Bill (DP Bill).

The UK DP Bill is an evolution of the current Data Protection Act 1998 (DPA). It will apply the GDPR and it has been amended to adjust to the national context and the UK citizens.

How does this affect freelance creatives?

Freelance creatives make use of mailing lists to send out promotional material, blog updates and newsletters to current and prospect clients. All the information in those mailing lists (emails, names, addresses) is considered personal information and are part of the scope of these privacy laws. Keep in mind that personal emails of employees of companies fall into this category and both laws have become more strict in terms of what they consider personal information (IP addresses are now part of the scope).

What does this mean?

It basically means that for you to be able to send your self-promotion material you need to have the consent of the recipient that you can use their email for this purpose.

What is consent?

Consent means permission, and for you to send marketing emails to your clients or prospects you must have their permission to do so. If you send blog updates or newsletters to people who have subscribed and agreed to receive them, and you use services like MailerLite or MailChimp, you mustn't worry. On the one hand, by subscribing to receiving these emails they have given you their consent. On the other hand, both services have taken measures to help you comply with these laws (MailChimp wrote about it on their blog and MailerLite has assured me that they are working on these as I am writing this post).

But if you are sending emails to people who have not subscribed to them, you must ask for their consent. You can send, for instance, emails to your existing client list if the email promotes similar products and services to the ones they bought from you. The Information Commissioner’s Office (ICO) has prepared a very thorough guide for direct marketing. The ICO is the UK’s independent authority set up to uphold information rights in the public interest, promoting openness by public bodies and data privacy for individuals.

What if you bought an email list or compiled your own?

This is where it starts to get confusing for me. There is a lot of misinformation on this matter, especially because all the official communications target large organisations, but there is very little written for freelancers and sole traders.

As freelance creatives, we all have a mailing list of some sort for our marketing and self-promotion. Some of us have compiled these lists using contact information of people that we have met along the road, people that we have worked with, people that we wish we could work with, information of people that we find in the mastheads of publications or on websites, and the list goes on. Other creatives buy mailing lists from companies like Bikini Lists or Agency Access.

Freelancers and sole traders are considered individuals under the privacy laws. When we send out our promotional emails to prospect clients, we address these emails to companies but also to other freelancers. If freelancers and sole traders are individuals, and we email other freelancers and sole traders, then these communications are between individuals, but because they are business related I understand that they are considered Business-to-Consumer (B2C) communications.

On the other hand, if freelancers and sole traders email companies, and these communications are business related, they should be considered Business-to-Business (B2B) communications and not really fall under the scope of these laws (the CEO of Bikini Lists, Ross MacRae, wrote a post about this). To make things more confusing, and like I mentioned earlier on this post, personal emails of employees of companies are considered personal information too.

So, it seems to me that in any of these two cases, whether freelancers and sole traders are writing B2C or B2B communications, we must comply with the privacy laws. I have written the ICO asking for more help on this matter because it is really confusing. Watch this space. Yesterday they published a post on their blog announcing that they will launch a dedicated telephone service aimed at helping small and micro businesses prepare for new data protection laws.

So, what can you do in the meantime?

While all this information is clarified, you must definitely make sure that you are taking into consideration best practices in what personal information refers to:

  • Only use personal information that you have consent to use and use it in a fair and lawful manner;

  • Use this personal information only for the purposes for which you have obtained the consent;

  • Send direct marketing emails that are adequate, relevant and not excessive;

  • Keep personal information in your mailing lists accurate and up to date and not for longer than is necessary;

  • Keep personal information in your mailing lists secure and password protected; and

  • Do not transfer to third parties or to other countries without consent and adequate protection.

Where can I find more information?

Photo credit: Behind the scenes photography by Stef Mic

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The Show Must Go On

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I was recently told that I don't look like a fashion photographer. At first, the statement didn't sit well with me. Were they saying this because I just put on what feels comfortable and not anything "trendy"? Was it because I care and show interest about many topics rather than just talking about designers and catwalks all day? Or was it because of any of the other stereotypes that people from outside the industry have of those who work in fashion? I couldn't tell. But then, after a while, it hit me. This person wasn't trying to insult me. Their words were actually meant as a compliment.

Honestly, I don't blame this person for having that opinion of me. More often than not this industry feels disconnected from reality. If you care just a bit about what is going on in the world you automatically don't fit with the image that the industry has made for itself.

Take for instance the New York Fashion Week. Millions of people were being displaced or left without homes due to the several hurricanes that hit the Caribbean and the south of the United States in early September. At the same time, the industry was prancing the catwalks in New York. If you were reading the news those days, you would see photos of models on runways alongside photos of people fleeing their towns in search of refuge. Very few brands and designers took actions to raise awareness for the victims of the natural phenomena that were causing mayhem a few states down south.

Was this what Jim Carrey was trying to tell us? We will never know. What we know is that the show always goes on. It must go on. This industry employs millions of people around the globe and it contributes immensely to many economies. For that, it deserves credit. But its reach also comes with the responsibility to respect and value their audience and their target. Showing a little sensibility for the issues that matter to the rest of the world won't hurt anyone. In the end, if we want the engagement of our customers, we must show that we care for them too.

In the effort of trying to sell a fairy tale fantasy and an unattainable lifestyle reserved to a very few, the message that we are sending is that we just care about the money and attention of the consumers, not about their well-being. Luckily, this image of superficiality is just a very superficial layer. Below, there are many who work in the industry who don't fit the stereotypes. A lot of them are very active on the issues that affect humanity and the environment.  Not all of them are vocal about it or have the appropriate channels to voice their efforts. But these people exist, they are very real, and in my experience, they outnumber those who contribute to the shallow image of Fashion.

So, if the image of someone who works in this industry is the image of someone who is superficial, I am glad that I don't look like that. Because the last thing that I want is to look like someone how doesn't care about humanity and who feels that they are above the rest of the world.

Photo by Luca Dominique Marchesi.

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I Wish I Had Known... About Hair Styling!

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This is the fourth post in my series of monthly posts where I speak with people in the creative industries and ask them questions about the things that "I Wish I Had Known" when I started out as a creative myself.

Today I speak with Hamilton Stansfield, Australia-born London-based Hair Artist, about what a career in hair styling is all about:

1. On any given day one can find you working with a celebrity, tending to your private clients, or running 106 km in the Isle of Wight. In a nutshell, who is Hamilton Stansfield?

All of the above inclusive and more, but I'm not defined by what I do. I’m a driven, ambitious, motivated, energetic, relentless creative. I’m always looking to push the creativity and I try to work or collaborate with people who are also driven to keep trying something different, something fresh.

2. Hairdresser, Hair Stylist, Session Hair Artist... what is the difference?

A Hairdresser is someone who encompasses all the skills that are generally needed for the public, which involves cutting and colouring, blow-drying, and styling.

A hairstylist is generally somebody skilled essentially in styling. Not all of the support work that gets it to there. Generally speaking. So just the dressing out of hair as in most shoots, which sometimes involves wigs and hair pieces, sometimes it does not. Sometimes it involves having knowledge and skills about cut, colour and all the other elements of texture. Often times, not. It is not about the needs of bringing out the best of a person necessarily.  It's often working with a model or celebrity, so many times hairstylists don't necessarily have a strong ability to bring out the person within the creativity. Sometimes the creativity of the hairstylist just pops on that person. It's less to do with the person or finding out what the person is about because it's not always the context. If it's a model, especially if it's a model, but sometimes even the same with an actress or a celebrity. Sometimes they look like they're wearing a hairstyle rather than being just them.

Then a session hair stylist is the next level, where you can pretty much do it all. But It's infinitely creative. Every time you don't copycat, you bring something new. Because you do have all of the skills: you can do wigs, you can do hair pieces, you can completely change who that person is because it's less colour-by-numbers. A session hair stylist truly reinvents somebody. Like Sam McKnight or Malcolm Edwards, for instance. You see their work and you can tell that's something!

You can be all of the above, but generally, you break them into these categories.

3. How did you start working with hair?

My step-father's nephew from his first marriage was a renowned hairdresser in Australia. I was coming out of a very complicated time and he connected me up with the craft. And I just devoured it. And then I couldn't stop. Courses, working, extra training, wigs, makeup, learning, learning, learning.

Then acting came after five years of doing hair. I went to NIDA, which is a known drama school, and I auditioned with a friend and went into the Actors Centre. In the meantime, I did hair to support acting. But, as with many actors, I didn’t make a career of it. Thankfully, I had something else that I could do. I started working with celebrities because I understood them. I had been on both sides. So I continued on to make a good living out of hair. 

4. What is the path for a creative who decides to follow a hair styling career?

In Australia, you have to do four years. It's a degree. Here in the UK, you can do six months, the same in the US. Six months or a year, and then you're left to do it, but you really don't know what you're doing. You haven't studied the physiology or the chemistry of all the elements to do it properly. You just had a faff around with hair, but you don't know what you're doing. You don't know what the chemicals are made of or how the elements come together. You don't know the substance behind it, you just know how to contort hair. But you don't know why and how, you don't have the substance behind it.    

5. Are there any sort of specializations in the field or do you need to know it all about styling, colouring, treatments, etc?

Specialization depends on which way do you want to go. If you want to do commercial work, TV and catalogue, or you want to do bridal or do fashion, or you want to do extreme fashion, or you want to do campaigns, or do film. Do you want to do stuff that is 9 to 5 or do stuff that is infinitely creative? It depends on where you want to go. It's like saying: “what do I need in order to go on that trip?” Well, where is your trip to? You have got to know where you're going to go. How can you know how to get somewhere if you don't have an idea of where you want to go?

6. You often hear that makeup artists are expected to know how to do hair... are hair stylists expected to know how to apply makeup?

It's definitely different categories. This really intrigues me and I have thought about it quite a few times because people have asked me many times before: “what do you enjoy more hair or makeup?" Not to be confused with the male or the female gender, but hair is much more about masculine energy, about taking control, being strong with a manipulative force. Makeup is much more about the feminine energy, much more painterly, reflective, touching, perceiving, understanding, feeling what's going on. So they are different energies. Of course that’s a generalization because you can have aggressive makeup, but generally makeup requires a softer touch and generally hair requires to take charge of it. Some people are wired in a way that they can handle the amount of energy and attention to detail. And some people are not. Some people benefit either way. That's a little bit out there but that's my view of it.  It has nothing to do with the gender. It has to do with the energy of the person.

7. I know that you are represented by an agent, but I believe that you also work directly with your own clients. Would you say that your career gives you the flexibility to work in a salon, as a freelancer and with agencies without having to stick to one business model at once?

Absolutely. I've deliberately done it. I've had salons before, managing staff and people, and it requires a lot of energy and time. I'd rather just do the work. I have an agent. She essentially does the paperwork and does it pretty well, but my clients come directly to me. I have just shy of 400 clients that come to me and to my place which means I'm available from 7 a.m. to midnight almost every day. And then when I have a shoot they know that that takes priority and they get moved. And they understand that.

Those clients involve people from all over the world. I'm very lucky that they fly me there or they fly to me. Lots of people come to my atelier, which is a two chair salon and it is very much one on one. Very personal. Anytime, day or night. As a client, you're not dealing with any public or anybody else. Total attention to you, and for that you pay a premium. But they enjoy it. Once they get away from the mindset of a salon they prefer that they can come here any night or any day or any morning they can. They are also quite happy to fly me to other countries to do that as well.

All this involves complete autonomy from anybody telling me what to do. Financial independence on a creative level. So I don't do things like catalogues anymore. That doesn't interest me at all. Neither anything that's kind of generic or not creative because I don't have to. It's not interesting. The more you simplify life, the better. If I had a salon, and staff, and those insurances, and those expenses, and those things to take care of, that would be less energy that I have for the people I'm working with. My clients. Whether it is in the atelier or whether it is on a shoot.  It's more money in, less money out. It’s more energy into what I'm doing, less energy wasted on stuff that doesn't return. So you want to maximise what's coming in and minimise what's going out. That's the business model.

8. Apart from working with private clients and celebrities, you also collaborate with photographers in photoshoots. How does that come about and why do you think that it is important to collaborate with other creatives?

If you don't put yourself into new situations you won't challenge yourself in new ways. Creative collaborations come to me. I generally don't hustle anymore. Not unless it's somebody that I really like.

9. What advice would you give to someone who is thinking about embarking on a hair styling career?

Work on your skills and your craft. Work on you. Know what you do and why you do it and don't do it for the notions of some kind of fame or notoriety, because they won't last. You do this because you love doing it.

10. Where can we see your work and how can people get a hold of you?

The usual suspects: my website and my Instagram.

I really appreciate it, Hamilton! Thank you so much for answering my questions and letting me take a peek into what a Hair Artist career is about. This is everything that "I Wish I Had Known"!


If you haven't read the previous posts of this series, you can check the whole series here. I hope you liked this new post and stay tuned for a different creative each month!

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I Wish I Had Known... About Fashion Journalism!

This is the third post of my series of monthly posts where I speak with people in the creative industries and ask them questions about the things that "I Wish I Had Known" when I started out as a creative myself.

Today I speak with Olivia Pinnock, Fashion Journalist, Copywriter and founder of The Fashion Debates, about what fashion journalism is all about:

1. I met you through the Fashion Debates but you are also a copywriter, a lecturer at London Metropolitan University and a fashion journalist. Who is Olivia Pinnock?

Oh I ask myself that all the time! I trained as a journalist and I do still really believe I’m a writer at heart but I’m very fortunate that I’m able to channel all of my skills and passions into many different areas.

2. What exactly is Fashion Journalism? Is it related to Fashion Critique?

Yes, all fashion critics are journalists, though not all journalists are critics! Fashion journalism is the reporting of news and trends related to what we wear. This can be interviewing designers, writing catwalk show reports, announcing changes to key staff in fashion companies, forecasting trends for the coming season, reporting sales figures for brands, and many more things! Fashion criticism is deeper analysis of these things. It could be putting a fashion collection into context and offering thought on whether it is a successful or unsuccessful. It could also explore why certain trends are popular right now, or what changes in the industry mean for business.   

3. How do you become a Fashion Journalist? Is it a separate career from journalism?

There’s not one path to go down. I studied Journalism at university and built up a portfolio of fashion writing to specialise and I believe that my training in traditional journalism skills has been very helpful. However, some people study fashion journalism and other people don’t study at all, they just train themselves through experience. I didn’t know I wanted to work in fashion when I studied so it was the right route for me.   

4. What is the role of the fashion journalist today in this day and age where a photo posted on social media is worth a thousand words?

Well we all know that what is posted on social media is not necessarily factual never mind good quality. While it can be even harder to stand out amongst all the noise on social media and the internet, I think we need top quality, trustworthy journalism in all fields more than ever.   

5. With great writing comes great responsibility. Do you think that a fashion journalist should actually know about fabrics, pattern cutting, design, and the basics of the fashion industry to be able to do their job?

Absolutely! You would expect a political reporter to understand how government works, you would expect a war reporter to understand the history of the conflict, you would expect a football reporter to know the rules of the game, so you must educate yourself as a fashion journalist to understand every aspect of the industry and its history.

The module I teach at London Met is called Fashion Branding & Journalism but as part of our classes I give them quizzes on current fashion news, names of fabrics, shoe styles, important figures in the industry, etc. We also take a trip to a factory to see how clothes are made. I feel very strongly that this is something that is very important and yet often missing from fashion journalism education.  

6. I know that you are also a copywriter. For the rest of us: what is copy?

It is any writing that is done for a brand, and therefore has a commercial purpose. It’s a very broad term that covers anything from product descriptions, to press releases, to advertising slogans, to e-newsletters and social media posts, to company information on a website or catalogue.  

7. Is it right to think that sometimes the copy on the cover of magazines or in advertisement is trying to exploit our insecurities?

Of course it is. It’s not necessarily so obviously at the forefront of editors and advertising executives’ minds when they write them but it is a very long-standing technique in order to get people to buy things and it’s very effective. However, we are now much wiser to this and there is quite a backlash to the negative impact the constant bombardment of messages that tell us we are not good enough unless we buy things to solve all our problems has. This is very slowly heralding a new age of advertising and media.  

8. How about fashion brands? How honest is their message? What can we do as consumers?

Well, that really depends on the brand! I think we should always be aware that any brand’s ultimate purpose is to sell and make a profit, but that doesn’t necessarily make them evil. Of course, sometimes they cross a line and we have an awful lot of power as consumers to boycott brands we disagree with and to hold the brand’s we do like to a higher standard when they miss the mark by using our voice. It’s important to think critically and always be aware of the motives behind the things you see, read, and watch, and while brands can have an amazing impact on raising awareness or money for certain issues, don’t expect them to be saints. Expect them to be companies who need to make money in order to survive.

9. What are the Fashion Debates and when and where do they take place?

The Fashion Debates is a series of panel discussion events in London which explore ethical issues facing the fashion industry. Our past topics have included sweatshop labour, environmental pollution, racism, the health of models, and unpaid internships and work. And there’s many more to come! You can find out when the next one is coming up on our Twitter and Instagram accounts, or on our Facebook page and there’s also a newsletter sign up form on our website.  
    
10. How can people from outside London take part on the debates?

We stream all our debates live on Facebook, make sure you’ve ‘liked’ our page! And by sharing your ethical fashion style every Wednesday with our hashtag #OnWednesdaysWeWearEthical.

Amazing! Thank you so much Olivia for taking the time to answer my questions and for explaining with such care what Fashion Journalism is about. This is everything that "I Wish I Had Known"!


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Creativity And Ego Don't Mix

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A couple of nights ago I went out for drinks with a group of photographer friends to catch up and to share our projects. At some point in the conversation we started talking about inflated egos and we all agreed that something that we value in other people is humbleness. So why is it then that if so many people appreciate a humble person you find so much arrogance in our industry today?

I went jogging with another friend this morning and out of the blue they told me about how much they like humble people. I thought to myself: "is this a coincidence or is everyone trying to tell me something?". Thankfully, they continued talking and explained an anecdote that prompted that statement. So many people talking about humbleness seems to me like a reaction to the times that we are living. A few weeks ago I wrote a post about people wanting "Truth", and with this series of conversations that I have been having lately I realise that we are all just getting a bit fed-up with all the falseness and the arrogance that surrounds us.

There is a documentaries series that I watch on Netflix called the "Chef's Table", where different chefs from around the world talk about their craft and their path. One of the episodes was on Jeong Kwan, a monk and a cook from South Korea, and during the interview she said: "Creativity and ego cannot go together. If you free yourself from the comparing and jealous mind, your creativity opens up endlessly." I couldn't agree more. I too believe that people with inflated egos are usually trying to hide something: they either feel insecure about their work or they feel like they don't have a clue about what they are doing or what is expected of them. So they react in this arrogant way to avoid other people from finding out. And the thing with creativity is that when you have your mind full of insecurities about you or your work, full of jealousy for the success of others, or even full of paranoia that everyone else is trying to steal your clients or copy your work, your creativity doesn't have a space to flourish.

Besides, being in constant fear and self-doubt has to be exhausting and no matter how much you try to pretend everyone else around you can tell. Well, almost everyone. There is a part of the population that enjoys a diva. But from these conversations I can see that the majority of people feel rejection towards arrogance and you don't want to be the creative that no one wants to work with. Not your clients, not your peers, not even your own team.

Self-confidence and humbleness for me go together. When you know where you are standing, and what your value is, there is no need to pretend. Everyone around you will see it. And if they don't, maybe it's time to reconsider your target.

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The New Trend Is Truth

Last June, The Global Language Monitor announced that the Top Trending Global English Word for 2017 was 'Truth'. Not 'meme', not 'god', not an animal nor the name of a celebrity, but 'Truth'. People just want the truth. In a world with so much falseness, could it be that being real is all you need to stand out?

Truth. Such a strong word, for words themselves are very powerful; mightier than the sword, has been said. Used with good intentions they can move us, unite us, incite love, support and confidence; used with the wrong intentions, they can manipulate us, lead to hatred, destruction, and war. But, sometimes, we are not aware of the consequences of our words. We throw them unwittingly without stopping for a second to think if they are hurting others, or even ourselves. And nowhere is this more obvious than in social media these days. The internet age has made us feel as if everything was ephemeral, short living. We post something today and a few minutes later is not in our timelines anymore, it is gone, forever. Or so we think. But, it is not. It is just hidden, waiting patiently somewhere in the depths of an internet server to come bite us back. When I was growing up I was always told: "The spoken word can't be taken back." Replace "spoken" with "posted" and it is our reality today.

Therefore, we must be very careful with what we say online, specially in our businesses accounts. Our brands can be easily tainted by the wrong use of words, and the trust from our clients, present or future, might not be that easy to gain back. Before we post anything we must always ask ourselves: Is this true? Do I have proof? Does this represent me or my brand? Does this hurt anyone, including myself? Is this disrespectful to others, even the ones who are not like me? Think about the words that you like being told to you. Think about how it feels when someone tells you that they love you, that they support you, that you mean the world to them. Think about how you like it when people are honest with you, when they tell you the truth. Other people, including your clients, would appreciate that feeling as well.

Use your communication channels (voice, social media, email, online, print) being true to yourself and your branding but with respect, empathy, tolerance and transparency. Your clients, and your peers as well, might have different opinions or backgrounds than yours and just because they do business with you that does not mean that they see life the same way that you do. If you show them respect and truth they will more than likely show you their trust.

All the love or all the hatred in the world can fit in one word. Use words wisely.

Photo credit: Tana Benavides

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I Wish I Had Known... About Marketing!

This is the second post of my series of monthly posts where I speak with people in the creative industries and ask them questions about the things that "I Wish I Had Known" when I started out as a creative myself.

Today I speak with Ilise Benun, a Marketing mentor and author based in New York, about what marketing is and how can creatives successfully self-promote:

1. Tell me a bit about yourself and the work that you do?

I am an author, business coach, national speaker, the founder of Marketing-Mentor.com and adjunct faculty at Pratt Institute and Maryland Institute College of Art, host of the Get Better Clients Bootcamp and a Program Partner for HOW Design Live, the largest design conference in the U.S.

Half my time is spent coaching creatives, especially the ones who are willing to do what it takes to get better clients with bigger budgets. That includes photographers, designers, illustrators, copywriters, videographers and other miscellaneous creative professionals. I’ve been doing this for almost 30 years.

I have also written 7 books, including The Creative Professional’s Guide to Money, The Designer’s Guide to Marketing and Pricing, and Stop Pushing Me Around: A Workplace Guide for the Timid, Shy and Less Assertive. I edit 2 blogs, The Creative Freelancer Blog and The MarketingMixBlog, and I host 2 podcasts, The Marketing Mentor Podcast and the HOWLive Podcast. My online courses can be found through CreativeLive, HOW Design University and American Writers & Artists Institute.

I also have an online store where I sell tools to grow a creative business, including The Pick a Niche Kit, The 30 Minutes-a-Day Marketing Plan for Creative Professionals, The Designer’s Proposal Bundles and The Package Pricing Bundle.

All of that keeps me busy delivering the basic business training in all the different ways a creative professional would want to learn how to grow their business.

2. When did you decide that you wanted to help creatives with their marketing strategies?

In 1988, I was fired from a job so I started out helping my friends who were actors and singers and painters in New York be more organized; over the years it has evolved into helping creatives learn what it means to be your own boss and take control of your business and your life. So I wouldn’t say I “decided” – it was more a question of me responding to the needs I perceived around me with a skill I didn’t even know I had at first, and then practising what I was preaching to take control of my own business!

3. Niche, target, audience, market... for the uninitiated these words are very confusing at the beginning. How would you explain in everyday words what self-promotion is all about?

Let me start with what self promotion is not. It’s not:

  • Bragging

  • Tooting your own horn

  • Boring people with me, me, me

  • Shoving your business card in someone’s face

  • Convincing anyone that they should work with you

Unfortunately, most people think it’s one or more (or sometimes all) of those things. Instead it is very simple:

Self promotion involves identifying those who need what you offer (that’s your target market or niche) and letting them know that you are willing and available to help. Self promotion is everything you do to communicate that message to the right people, the ones who will be open to it – again, your niche.

4. Why is it important for creatives to get their products and services out there?

James Sommerville, VP of Global Design at The Coca Cola Company, said it best on my blog: “Show us you’re interested by reaching out to us. Otherwise, we probably won’t know you exist."

5. Are creatives betraying the artist in them by trying to attract clients?

There does seem to be a popular myth that art and business don’t mix, that one corrupts the other or that you can’t be both “an artist” and “a business person.” I, of course, think that is bull. In fact, I recommend not labelling yourself at all. Instead, think about the business tasks that need doing and do them, whether you are “an artist,” “a business person” or a dog.

6. In this day and age when we are over saturated by promotional material, how much self promotion is too much... or too little?

It depends! And we each have to figure that out for ourselves. Here’s how: if you have a goal to earn X dollars (or pounds) per month, you have to figure out how much self promotion it takes to make your monthly goal based on how much you charge for your services.

Also, self promotion is not a question of quantity, as much as quality and effectiveness. If you choose the right tools to reach your target market in their moment of need, you may not have to do much at all. But you have to know which tools those are! Sometimes, attending one targeted event will give you all the marketing ammunition you need to last a year, as long as you follow up.

7. Is it enough just spreading the word about our work? What else can we do?

The most important thing to do is develop and nurture relationships with the people who are in a position to either hire you and/or pass your name along to the right people.

That can be done in many different ways – too many, really. It can be done in person through networking. It can be done online through social media. It can be done via email and through the old fashioned snail mail -- even sometimes on the phone. The problem most people encounter is getting overwhelmed by all the different marketing tools available. Or using the right ones in the wrong way. The right way, of course, is strategically, allowing you to connect the dots so the right people get the right message at the right time. That is the basis of my latest marketing plan: 2017 Marketing Blueprint - How to Connect the Dots of Your Marketing.

8. Most creatives are very good at their craft but very bad at selling themselves.... myth or reality?

Reality…but for a good reason. You are good at your craft because you care about it and you devote a lot of time to improving it and making sure you’re the best you can be. If you don’t do that for the business side of your craft, you are almost guaranteed to be really bad at it. No one is good at anything they haven’t learned and practised until they are competent and confident about it.

9. Any other word of advice?

Stop making excuses and get on with the work of letting people know about your work. It is your obligation to yourself.

10. How can creatives reach you and what can you do for them?

What I can do is teach you the simple and basic marketing tools that will bring your ideal clients to you. If that sounds good, sign up for my Quick Tips from Marketing Mentor to get a taste of my advice. Listen to the podcast and then, if you like what you see, sign up for my free 30 minute mentoring session and we’ll talk.

Beautiful! Thank you so much Ilise for your time and for all this fantastic information. So many things that "I Wish I Had Known"! I am sure that a lot of people will find it all very useful. I know that your blog, podcasts, calendar and books have been very useful for me!


If you haven't read the other posts of this series, you can check the whole series here. I hope you liked this new post and stay tuned for a different creative each month!

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I Wish I Had Known... About Submissions!

This is the first post of my series of monthly posts where I speak with people in the creative industries and ask them questions about the things that "I Wish I Had Known" when I started out as a creative myself.

Today I speak with Wayne Noir, fellow photographer and the Editor-In-Chief of London based Rion Magazine, about what is a submission based magazine and how can creatives get their work published:

1. First of all, tell us about RION Magazine

RION magazine is a creative platform that showcases the very best in creative talent from around the globe. These include photographers, MUA’s, stylists, designers and music artist. We are both online and in print, and in the future an app too!

2. What is your job at RION and what responsibilities does it entitle?

At RION, I am the Editor-In-Chief of both the online magazine and the print issues. My duties include the running of the magazine. I have to set themes, ensure that all the creatives get mentioned, scheduling post for online, social media and email marketing. The due diligence behind the business in making sure we comply with everything. 80% of my time is making sure these things are checked, doubled checked, ticked, filed, and backed up. It can be easy to make a mistake and once it's in print, it can't be taken back. I have to make sure that every article, editorial, image, social media post is non judgemental, not slanderous in any way or offensive. If anything is sent to us in terms of advertising, I need to ensure that we let our viewers know this. Which can change people's opinion of an article. I tend not to publish anything that relates to advertising, though it may be contradictory, as if it's the artist I'm publishing, and therefore, if the feature is about a designer, that can be seen as advertising.

3. Why are you submission based? Will this ever change? As in, will you ever consider hiring a crew to shoot for the magazine?

Purely for content really, when I started RION 2 years ago, it was a WordPress blog that I used on my phone. We've grown now to a worldwide readership. We are still very new and I think that we will stay submission based for the time being but I'm not ruling it out just yet. Although we don't have the budget to pay creatives at the moment, I’d love to, believe me. We continually support the growth of the creatives and the community. We don't just accept their work, publish it and that's it. No, we constantly support by following their social pages, engaging in their work, giving shout-outs, any job posts that we see we put out to our creative community; we offer professional advice in some cases, too. Any profits that we do make we give to charity. Our current issue, the NOIR issue, is for a charity called MIND, to help boost awareness for mental health.

4. Why would a creative be interested in having their work published?

To get recognised for their work and their creative skills, to try and boost on your own profiles alone can be very hard when you are starting out. When I started as a photographer, I knocked on all the modelling agency's doors until one agency agreed to test with me, from there on I got booked for more test shoots, then proper shoots and then OK! Magazine. Once I was published, and I had a publication on my CV, other magazines, modelling agencies, and models seemed to take me more seriously. You just need that break.

5. What sort of photography is RION interested in?

RION is a creative platform, anything creative and high fashion is what we love. I love black and white so that's always a winner for me.

6. How is your submission process?

All submissions can be sent to submissions@rionmagazine.com, whether you are a writer, a designer, photographer, MUA, musician or in the creative arts. We request that you name your feature, and send us low-res images. Once our creative team accepts your submission, you'd then be asked to send over 300DPI images via Dropbox or WeTransfer and we ask that you include ALL the credits with this and fill out our disclaimer form that we will send you. This is just to make sure that the original copyright owner agrees and accepts your submission (If it’s not the photographer who is submitting it). We then file your submission, the supporting document, and credit list, and then our graphic designer pulls this from our server and does his thing. This is why we ask: please, please do make sure that you credit everything and everyone. Once your submission has been accepted and moved onto the next stage, it cannot be changed.

7. How do you decide which photos to publish?

I look for something that is different. Something that shows emotion, passion and creativity. Anything black and white that is raw with attitude is always a winner with me. But it's not just about the style, the images need to capture the designs, the model and personality. Every member of the team has worked on that shoot so the images should reflect every creative who was involved. 

8. Who is allowed to submit? Only the photographer?

No, anyone can submit to RION, we only ask that the original copyright owner signs the relevant release form and accepts that they are happy for us to publish their work.

9. What are the common mistakes that creatives make when submitting their work?

There are quite a few actually:

  • Not naming the editorials. It's your work. We don't want to name it, It's your thought process, so name your editorials.

  • Bulk sending submissions, it's really hard once the graphic designer has your work and starts the design process only to be emailed to say that another magazine has published it already.

  • Not crediting the whole team. There is no "I" in team. Everyone needs to be credited. There is no limelight with RION. The light gets shined on every creative that has worked on the shoot.

  • Not sending the high-res images, they might look fine on the screen but in print they can be very pixelated and don't reflect the hard work that everyone has put in. We only want to show your very best work and you deserve that.

  • Lastly, changing their mind at the last minute and adding or taking away images or changing the credits.

10. Should creatives pay a magazine to have their work published?

Oh gosh no. This is a big “no, no” for us and a topic that we are very strongly against. No one should pay for their work to be published. Never!

11. Any other word of advice?

Enjoy what you do, it can be stressful, there will be times when things go wrong and not according to plan but that's where your creativity can really blossom. Enjoy the ride, keep your portfolio updated and engage with other creatives, established or not, we all started from the bottom. Everyone is equal.

12. When is the next issue?

The next issue will be in September 2017, any submissions can be sent to submissions@rionmagazine.com. The deadline for this is the end of June 2017.

Brilliant! Thank you so much Wayne for taking the time to share all this valuable information with me. So many things that "I Wish I Had Known"!

Thank you, JC!


If you haven't read the other posts of this series, you can check the whole series here. I hope you liked this new post and stay tuned for a different creative each month!

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