ESTILA Volume 12 REVIVAL

FEATURED : ELIZABETH HAY DESIGN | EVI ANTONIO | UNCOMMON | MEDIK8 | MONSOON AND BEYOND | SUSI BELLAMY AND MORE

REVIVAL VOLUME 12/ ISSUE 47

ESTILA

EDITORS Karolina Barnes Nicola McCullough / strawberryblondebeauty.com GUEST CONTRIBUTORS Aimee Stammers / aimeestammers.com Dessy Tsolova / fashioninsiders.co

PHOTOGRAPHERS Peter Atkinson

COVER ART Natalie Barnes, STUDIO/ESTILA A big thank you to all our editors, contributors and everyone who continues to support ESTILA. ESTILA bookazine is designed and published by STUDIO/ESTILA t/a Palantti Ltd. The entire content of this publication is protected by copyright and may not be reproduced without written consent from the publisher.

The views expressed in this publication are those CONTACT

of the respective contributors and are not necessarily

estila.co / IG @estila.co

shared by the publisher. Original work and

Tell us your story: editor@estila.co

photography are copyrighted by its owner.

Community website: estilacircle.com STUDIO/ESTILA: studioestila.com

ISSN 2398-9041 Printed in the United Kingdom.

©Copyright 2020 ESTILA

WELCOME TO THE WORLD OF ESTILA

“

This world is but a canvas to our imagination.

Henry David Thoreau

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FOR CREATIVES BY CREATIVES ESTILA bookazine tells the unspoken and powerful stories of amazingly talented creatives who have gone through frustrations, tipping points and aha-moments that have led them onto a path of entrepreneurship. From art and design to lifestyle, we touch on issues faced by modern creative businesses. But more importantly, with each issue we are growing a community of newcomers, changemakers, forward thinkers and inspirers, connecting designers, brands, artists and other creatives to each other. This is your networking source on paper.

And so as you read through the following pages, ask yourself: "Can I spot a new contact or an opportunity for a collaboration?"

Engage your creative thinking and imagination.

REVIVAL

VOLUME 12/ ISSUE 47

Featured brand stories NEWCOMERS

CHANGE MAKERS

FORWARD THINKERS

Shana Harrison p8 Evi Antonio 16

Monsoon and Beyond p20 Elizabeth Hay Design p28 Medik8 p34

Uncommon p40 Heaps + Stacks p52

SPECIAL GUEST ARTICLES Marketing: The power of storytelling p80 Fashion Business: Playing the global game p84 4

BLACK BOOK p 88

INSPIRERS Susi Bellamy p56 Éadach by Sara O'Neill p64 Sophia Shorr-Kon p72

EDITOR'S NOTES

C

hange is what we need. Everyone agrees. But change often is not easy.

Firstly, most don't like change. It's too much hard work. Secondly, change requires a collective input. That's why it takes time for it to happen. But if we are able to implement change, the world can be a better place. We can see progress and improvement in the quality of our lives. To me, improvement is in some way rooted in revival. We take something which we already have and make it better - whether that's working with local craftsmen and supporting their livelihoods while keeping traditional skills alive (read the story of Monsoon and Beyond on p20) or redefining workspaces by improving the physical, mental and emotional wellbeing of employees and office workers (read the story of Uncommon on p40).

It is very apparent to me that we need to include everyone in conversations and invite them to the table. If you have been with us from the start, you know that we champion creativity and give opportunities to anyone who has a great talent - whatever age, ethnicity or background. I'm very proud to present to you our first art cover created by a student (and my daughter), who is just about to start her degree in Interiors Architecture. Inside you will find insightful brand stories from around the world which, I hope, will add to the conversation and open your eyes to what's out there, beyond our borders.

As always, thank you for reading and your continuous support. It truly means a lot.

Without you, we wouldn't be able to provide such a supportive platform where small creative businesses can share their stories.

Karolina Barnes / editor-in-chief

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OUR COVER Art by Natalie Barnes

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Revival

CHAPTER ONE

COMERS

NEW

definition

Newcomers are creative minds who are passionate about what they do and excited about their new journey. They have probably made some form of transition and personal reinvention. They are full of energy and enthusiasm and want everyone to know about them. Here we give them the space to introduce their story to you.

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Shana Harrison

Giving a helping hand to interior design projects interview by Karolina Barnes, photography provided by Shana Harrison

I

met Shana Harrison at a networking event in Chester a year ago and was immediately

drawn to her infectious friendliness and warmth. We chatted for a while before she told me her story of living in Mexico and USA before moving to the UK. With her background in art and interior design and her multicultural experiences, Shana is an exclusive UK sales representative for luxury brands US based Porter Teleo and Arteriors (Midlands and North England only).

Here I chat with her about her amazing journey and how she helps interior designers and trade clients deliver successful projects.

Tell us a little bit about your journey. How did you get to representing the amazing brands you have on your portfolio?

I come from a family of engineers – all three of my siblings are. I am a blend of right brain and left brain. I’ve always chosen a more creative path, as that is where my heart is. I have a fine arts degree and worked as an art director and product designer for many years before going back to get an interior design degree. I took on design projects while obtaining the degree while also working as a consultant. Then I became a mother, and we moved from Kansas City to Mexico for my husband’s career. I had my second child there.

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When we returned to the USA from Mexico, I reconnected with a photographer I knew from my art direction days and I took on selling artwork by him and his wife to interior designers and architects. I completed a large project – a country club – where I sourced all the artwork in the building and oversaw its installation right before we moved to England. We moved because of my British husband’s career and to give our children a more worldly experience than they would have had in the middle of America.

Once I obtained my visa, got our home set up (including an extension project) and my kids settled in their new country, new schools, etc., I could start thinking about my career again! I was starting completely from scratch with friends and business contacts. I’ve followed Kelly Porter’s artwork as she displayed in my favourite gallery in Kansas City.

Another mutual friend knew Kelly and we were both making comments on a Facebook post one Sunday afternoon. I commented that I would like to be an agent for them in the UK. Kelly saw it and said she would speak to Bridgett (the other co founder) and that is how I became an agent for Porter Teleo.

The reasons I love being an agent for them are: 1. Porter Teleo comes from Kansas City where I lived for 20 years.

2. The brand is a women owned business that employs female artists.

3. Both brands, Arteriors and Porter Teleo, combine art and interior design which suits my interests and experience to a tee.

Porter Teleo Founders Kelly Porter and Bridgett Cochran

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What do you enjoy most when working with designers? Can you describe the process of working with them on projects?

As a creative, I love creating art which is my favourite pastime activity, I like working with designers, helping them solve their problems while forming collaborations. What drives me most is seeing my clients deliver successful projects and being part of that journey. To be of service and work within a team is what I enjoy the most.

I am very much a people's person, and I love meeting interesting people and working with them. On the other hand, I love doing the estimating, converting from Imperial mea-surements to metric, and getting the most cost - effective solution for my clients.

The way I work is very similar to a showroom setting but remotely. I can send samples and work with designers on specifications, lead times and deliveries. Currently, I am open to taking on more lines that compliment Porter Teleo and Arteriors, so that I can offer my clients more to help them with their projects, which is very exciting.

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I love the creative aspect of my job as well as doing the estimates and helping my clients deliver successful projects.

Porter Teleo: Zeta Aubergine Next page from top left: Brushstrokes | Floral Graffiti Ardoise | Painterly Plaid Geranium | Signs + Signifiers Gris 12

ABOUT PORTER TELEO The creative vision of abstract artist Kelly Porter and designer Bridgett Cochran, Porter Teleo is an exquisite collection of handmade textiles and wall coverings that utilises traditional fine art techniques. Using the nest materials and richest pigments available, Porter Teleo strives to amplify the vision of each individual designer....merging the beauty of fine art and design together into one world.

Porter, an award winning painter whose artwork hangs in museums, galleries and celebrity homes, and Cochran, a designer with an eye for detail and distinctiveness, quickly found a common bond: they were looking to capture and create something totally new for the design world. A collaboration has resulted in an innovative way of making wallpaper and fabric, relying on an intuitive, creative process. The result of their passion is a beautiful, unique collection with an energetic and visually stunning set of patterns and colour palettes.

Within each new collection, Porter Teleo continues to push the limits with both original imagery and new palettes. Striving to break new ground in aesthetics, Porter Teleo aims to set the trends, rather than follow existing standards, constantly looking forward rather than around in order to bring the freshest product to the marketplace.

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This page: Arteriors Royalton Oval Pendant ABOUT ARTERIORS Founded by Mark Moussa in 1987, Arteriors is a leading lighting and furniture company.

Through close collaborations with skilled artisans from around the world, Arteriors has set the pace with unique designs that transcend trends. From understated to the unexpected, they offer an extraordinary assortment with special attention to material, texture, scale and finish.

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For any project requirements, samples or more information, please contact Shana on +44 (0)7446 886 325 IG @shanaharrisonuk | https://linktr.ee/shanaharrisonuk

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Artist Story

Creative legacy with Evi Antonio words by Evi Antonio

I

was born in North London, surrounded by an urban landscape. While growing

up, I dreamt of the countryside and nature, being fascinated by and immersed in the images of natural history books. This interest was cultivated during my teenage years and further developed when I studied and graduated with a BA (hons) degree in Scientific and Natural History at Middlesex University, London.

After graduating, I worked for many years as a natural history illustrator on many publications, using traditional watercolour techniques.

I went on to run a successful illustration agency alongside my husband. Our studio was in a nature reserve, which was a perfect location for me. I was able to immerse myself in the surroundings, which inspired my work and love for natural history.

After having and raising our two children, I returned to the studio but decided to explore a new contemporary art form.

My creative approach was informed by a combination of professional experience, an almost obsessive eye for detail and a real passion for the traditions of natural history illustration.

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Embracing new technology to express my new vision, I have decided to combine digital painting with hand finished and glazed prints, using the highest quality fine art paper in small editions or one-of-a-kind pieces.

Painting digitally, using Photoshop and a digital pen, I applied the same level of detail and understanding as I did when I used to paint traditionally. Butterflies, insects and lobsters are a common theme in my work, but in my more recent work I have been focusing on the beauty, symmetry and patterns mainly in butterflies.

In 2012, I was accepted and exhibited in the Royal Academy Summer Exhibition, where my whole edition of "Jonos Lobster" sold. Since then, I have exhibited my work both as a solo artist and in group shows all over the UK and Affordable Art Fairs. In 2016, I won a prize for best artist, East of England with the National Open Art competition and also was The Secret Art Prize runner up winner in 2018. Most recently, I was one of the winners of The Cult House Open Call 2019, in collaboration with Runway Gallery, which resulted in a successful exhibition in Blacks Club, Soho in London. Runway Gallery now represents me, and I'm very happy to be part of their family. Their support and enthusiasm for my work have been amazing.

Tropical Morpho 17

Since moving back to London in 2017, I have discovered a new found inspiration in the street art and graffiti around East London. This is heavily reflected in my latest work, but my love of nature remains rooted and prevails.

MY INSPIRATION I seek out moments that occur in my present urban setting, where evolving abstract beauty, deconstruction and decay collide.

In nature, I see infinite patterns, symmetry, intricate and perfect. On the streets, I see something similar emerging from unexpected beauty on the walls and streets as I walk around London. I’d like to take the viewer on my journey where my love for nature and urban landscape collide and combine in harmony.

Sunset on Whitecross

Website: eviantonio.co.uk | Represented by RUNWAY GALLERY: runway-gallery.com IG: @eviantonioart 18

CHAPTER TWO

MAKERS

CHANGE

definition

Changemakers are creative minds who are on a mission to change the world for the better. They spend a lot of time researching, gathering information, knowledge and resources which help them in making that change happen.

Sometimes changemakers see small details in problems the world is facing and use them as their starting point of their story. Here we share some of those stories.

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Brand Story

Enchanting journeys through India with Monsoon and Beyond interview by Karolina Barnes, images provided by Monsoon and Beyond

A

fter living in France, England, Italy and Sweden, for an Austrian born Vera Fritsch

it was her corporate job that has brought her to India. She fell in love with the country and founded Monsoon and Beyond with the idea to bring India's beauty, culture and magic to everyone's home around the world. Over the years, Monsoon and Beyond has evolved into a lifestyle and fashion brand, with a strong ethos based around design, craftsmanship and sustainability. With global audiences and stockists worldwide, each collection tells a visual story of inspirations and emotions, taking customers on a journey through India.

I caught up with Vera to tell me more about Monsoon and Beyond's early days and her passion for creating design with a soul.

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Tell us a little bit more about the story of Monsoon and Beyond. How did you get the idea and concept for the brand?

I grew up in the picturesque town of Frohnleiten in Southern Austria, and although it was beautiful, I always felt the urge to travel and discover other countries and cultures. Through my education I lived in France, the UK, Italy and Sweden, but it was when I accepted a job at a diplomatic mission in New Delhi that I signed up for the ultimate adventure. That was in 2007, and ever since India has been my home.

Although I had studied economics, my true passion has always been fashion and design. My experiences in India are what triggered me to translate this passion into a profession. Everyday life in India is so inspiring: the faded wall of a medieval tomb in Old Delhi; the dusty pink sandstone buildings of Jaipur’s old town; the sunset from the rooftop of my apartment that colours the roofs and Gulmohar trees in shades of saffron; all of these views were magical. They inspired me translate the emotions into designs and bring India’s beauty and cultural heritage to everyone's home. That’s why I started Monsoon and Beyond.

India’s beautiful indigenous fabrics such as chanderi, khadi, silk and cotton as well as the incredible textile artisans and craftsmen in this country are the foundation of the brand. From the beginning, the brand has been based on the idea of celebrating the rich traditional textile techniques that India has to offer and blending those ancient crafts with a contemporary, Western design sensibility. This is the brand’s signature style and sets us apart from all others.

Since starting Monsoon and Beyond, has the vision evolved or changed in any way?

Yes, it has. I started with home furnishings – designing handmade, hand-printed and handembroidered cushions and bed sets. It was during one of my fabric sourcing trips to Old Delhi that I stumbled upon a craftsman who was incredibly gifted at intricate hand-embroidery – he was working on the most beautiful embroidered minaudière clutch I had seen thus far. That is what inspired me to add accessories to my product portfolio.

The launch of my first clutch collection was at the NY NOW exhibition in New York in 2017. I was blown away by the reaction to the launch and thrilled that one of my bags was selected as “best new product” at the show. That encouraged me to focus more on accessories. In 2018 I launched my first clothing collection called JODHPUR RESORT. This was a collection of flowy silk and cotton pieces inspired by the historic city of Jodhpur in Rajasthan known as the “Blue City” of India. The signature print was made using the ancient craft of “Block Printing” which dates back to the 12th century.

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Your ethos is about sustainability. How hard is it for you to find suppliers and stockists who share your philosophy?

In the beginning, I had all these ideas for designs and patterns but I failed in finding a producer that would attempt to pay enough attention to the details of my designs and artworks. My volumes were small and some of my designs were too intricate for them to produce. I also discovered that most producers could not meet my quality standards.

Eventually, I realised that the only way to get the designs and quality standards that I follow would be to be as hands on as possible with niche artisanal workshops that employ not just labour but artists that are experts in their field. I began my hunt for boutique manufacturers who work with expert artisans from all over the country. Today I collaborate with artisanal workshops in Delhi, Jaipur and Jodhpur. I have a close relationship with each workshop.

All my customised handmade borders and laces are made by the wonderful Kartik and his team in Delhi. Our hand-printed fabrics and most of the embroideries and stitching is done in workshops in Jaipur. The final finishing of the pieces is done by Sachin and his team in Delhi.

Every single piece we produce feels special and valuable because it is being created in collaboration with artisans who I know personally. It makes me incredibly proud to be able to say that I do my part to support the artisanal community and their families and ultimately to help preserve handcraft techniques that are slowly disappearing.

You work with artisans and tell stories through your collections. How important are storytelling and craftsmanship to your brand?

My inspiration for the brand has always been expressing my interpretation of India to the world through my collection. This is how I title the collections and how I design them. With each collection I take my customers on a journey through India.

JAIPUR HAVELI, for example, is a collection of handmade clutch bags inspired by the intricately adorned historical townhouses (Havelis) of Jaipur.

Our bed set collection AKBAR AND ANARKALI is inspired by the enchanting love story between the Mughal emperor Akbar and Nadira Begum in the 14th century. According to folklore, Akbar was so enamored by Nadira’s beauty that he named her “Anarkali”, meaning "pomegranate blossom". That is why this collection features various patterns interpreting Mughal pomegranate drawings and themes.

TAJ MAHAL, our autumn winter clothing collection is inspired by the iconic Taj Mahal in Agra.

Through elaborate print designs echoing the marble inlay art of the monument, I aimed to capture the myth and ornamental beauty of the Taj. 25

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What was the inspiration behind the latest collection?

QUEEN OF JAIPUR is inspired by early 20th century India, the era of Maharani Gayatri Devi who was considered one of the most beautiful women in the world and was celebrated as a fashion icon both in India and in Europe. Elegantly draped chiffon saris in soft shades of pastel were her signature style, which I honoured in this collection. The Maharani was more than just a symbol of beauty and grace: in conservative India, she opened several all girl’s schools and was elected not once but three times into political office. With Queen of Jaipur I wanted to honour the legacy of this intelligent, progressive woman and queen.

The feminine designs are crafted from silk chiffon, satin and cotton fabrics. Each of our original prints tells a fascinating story and captures the essence of the era of the Maharani. The floral print SECRET GARDEN for example, is inspired by India's royal pleasure gardens which were commissioned by Indian kings for the royal ladies. These gardens were famous for their lush flowers and lawns, marble art and fountains. The print pattern is full of little secrets. When you look closer, you will find hidden elephant trunks and peacocks beautifully interlaced with floral motifs in bright hues of lilac and green.

Website: monsoonandbeyond.com IG: @monsoonandbeyond 27

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I tend to pull everything out from my library and put things together that I find pleasing both pattern and colour wise.

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Designer Story

Sophisticated maximalism with Elizabeth Hay Design interview by Karolina Barnes, photography provided by Elizabeth Hay

K

nown for her rich layering and attention to detail, Elizabeth Hay manages exciting

design projects all over the world. With her unique library of artisanal fabrics and textiles that she collected over the years during her travels such as from, for example, the Ivory Coast, The Congo, Japan, India and Uzbekistan, in her work Elizabeth reflects her passion for colour and pattern, giving interior spaces a unique character and originality.

In this interview, Elizabeth shares with us her journey, design inspiration and approach to her work and how she also manages to juggle her online store on top of her client's projects.

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Firstly can you tell us how you got into the world of interiors?

When I left university I did work experience in a number of fields and nothing felt quite right. I wanted to do something creative and I had always loved working with colour. I didn't want to work in fashion so I thought interior design might suit me. I started working at Colefax and Foxler in their old Brook Street offices as my first permanent job out of university and I haven't looked back.

We absolutely love your style. How would you describe it?

Layered, eclectic, colourful with a contemporary twist on classic English design.

Your signature style embraces colour and pattern. Where do you find inspiration?

I am constantly looking out for new and unique fabrics, wallpapers and materials, and these are often the starting points for inspiration. When scheming for a project, I tend to pull everything out from my library and put things together that I find pleasing both pattern and colour wise. I usually have a long list of fabrics and various design ideas in my mind that I am desperate to use somehow in an upcoming project.

My travels also inspire me - a recent trip to Japan has inspired a range of checkerboard rugs that I am currently designing and having made.

Apart from your design projects, you also have an online shop. Why did you decide to offer this additional service, and how do you juggle both sides of your business?

I started the online shop for a number of reasons; the lampshades came first as in Singapore especially you just couldn't source affordable shades and shipping them over from the UK can be so expensive. Sourcing accessories and sourcing markets and auctions is one of my favourite pastimes and I found myself with this huge collection of vintage and antique accessories, so I decided to start selling some of them. It was the same with the cushions and textiles, I started getting such a huge collection and had amassed an amazing network of suppliers globally, who I had met on my travels, it seemed a natural next step to start selling these too.

I also found that some clients wanted to buy some Elizabeth Hay Design style pieces but didn't perhaps want a full interior design service. This way, they can purchase an ottoman with an antique textile or a piece of furniture without having to commit to a full design package but still having my input.

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I love to create layered, colourful and lively interiors and our range of eclectic accessories and furniture that I have carefully curated definitely reflect this aesthetic.

I juggle both sides with a bit of help! I have an assistant who runs that side of the business for me running a website and uploading and updating the images is incredibly time consuming. It never really feels like juggling though as I love what I do so much that it never feels like work!

What is the fun part of your job and what the not so fun part of your work?

The fun job is the creative part for sure - the putting together of schemes and ideas for a project.

With any project, it is always the relationship with the client as well that can dictate how great the project ends up. If you have a really good relationship with a client, and they are willing to go with some of your more whacky ideas, this inevitably creates a really fabulous end result.

Not so fun part can sometimes be the coordination - for a large project you are sometimes working with up to 500 suppliers - from hardware, tiles, various fabric suppliers, trims, the list goes on and on. When working with so many suppliers, it is inevitable that there might be some delays or hiccups along the way. The trick is to learn to know that there is always a solution to any issue and everything is solvable.

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What's next for Elizabeth Hay Design?

I am still selling my collection of lampshades which are so pretty and great for adding layers to a room. Our online shop is always changing with fun new accessories and cushion, so keep an eye out for our updates. I am also designing a range of rugs and lamp bases inspired by my travels around Asia.

Project wise, I am doing up a cottage in Devon (UK) which I am so excited about, and I am soon to photograph a big house I have recently completed in Singapore.

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Designer website: elizabethhaydesign.com IG: @elizabethhaydesign

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MEDIK8

Beauty led by science How Medik8 stands out by embracing a unique business concept interview by Nicola McCullough

S

cience based brand, Medik8 set out to demystify the skincare industry, offering extraordi-

nary results without compromising on texture, design or sustainability. Developing every product from scratch with a team of in-house scientists, the company runs a full end to end capacity from its London head office. While the UK home market remains a key focus, Medik8 is now available in 21 countries globally and is looking to fully launch in the US next year.

We caught up with Director of Research, Daniel Isaacs to find out more about what sets this iconic brand apart.

Tell us about the inspiration behind establishing Medik8 as a brand.

Medik8 was born out of a passion to deliver the benefits of serious skincare science without needing to compromise on the demand for ethics, transparency, sustainability and beautiful textures and fragrances found in natural brands. Elliot (my brother and founder of Medik8) was, and still is, on a mission to demystify the anti-ageing skincare industry with his trademark CSA Philosophy of ‘vitamin C plus sunscreen by day, and vitamin A by night’. This simplicity, plus the end of choosing between results or experience, is the secret to Medik8’s meteoric rise.

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At Medik8, before we dive into lab work, the first step for any product is comprehensive market research. We scour the marketplace and determine what exactly the customer is looking for. Sounds obvious but you’d be amazed how often this stage is ignored.

We develop every single product from scratch. We don’t buy off the shelf stock formulations. Even in rare cases where we work with a specialist partner to produce the final article, we always do the development and check every single detail. We scour the Earth to find the right ingredients and proceed to a full ‘nature-biased’ chemistry workup.

Perhaps because we were born in a tiny lab at the back of a pharmacy, we approach manufacture with a clinical precision that is unusual for the industry. We work to an ‘ultra-clean’ standard and, frankly, our process is way over the top for cosmetics. Quality is not just a word for us. It’s an obsession and we probably need help!!

We have an incredible marketing team who produce all the social media, PR, advertising and packaging content. We run frequent in-store promotions and all sorts of merchandising mechanics.

But we also get out into the field and face-to-face train business partners from around the world.

What was your career journey that led you to the role as Director of Research?

I started as a formulation scientist for Medik8 straight after studying Chemistry at Leeds University. Elliot desperately needed some help in resolving the technical challenges he was facing when dealing with vitamin C and vitamin A and he enlisted me to sort them out. I joined when the brand was still so young and being part of its growth and helping Medik8 get to where it is today has been an invaluable experience.

What does an average day look like for you?

As a brand, we are “led by scientists” - meaning our direction in product is driven by the work we do in the lab and I am central to that in both research and education. So I spend half of my time delving into the depths of dermatological and formulation science, helping our research team solve the daily challenges we face in making cutting edge products, and giving the direction in our research to stay at the cutting edge. And the other half I’m working with our education and marketing teams to ensure that anyone communicating about our technology has an ultra high level of understanding about the topic. In fact, much of our social media posts and blog posts are written by scientists in the R&D team.

For such a scientific brand, Medik8 is widely regarded as a brand with heart. Tell us about the Helping Hands initiative in response to COVID-19.

Originally, back at the beginning of March, we made our own formula for our staff when we could not buy sanitiser in the shops, and the project developed from there.

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When the call went out for ventilators, and we saw what was happening in Italy, we thought what can we do to help? While we can’t make ventilators, we can make sanitisers. Using all raw materials and componentry in stock, we managed to make 4000 hand sanitisers that we gave to local care homes, charities and front line workers who were nominated to us by customers on social media.

The initiative has since grown. Thanks to the generous donations from customers and two corporate sponsors, the total of which Medik8 has matched, we are now set to deliver a further 50,000 bottles for those in need.

Where is Medik8 located and what is your global reach?

Medik8’s global head office is located just outside London, UK, in leafy Hertfordshire. We run a full end to end capability from here; conceiving and manufacturing every product ourselves: ‘Think.

Lab. Make. Tell.’ we call it. Over the last 10 years we have built a global presence, we are now available in 21 countries through a network of distributors providing local salons, doctors and clinics.

What do you think sets Medik8 apart from other skincare brands?

Rather than complicate, we set out to demystify skincare. We offer extraordinary results without compromising on texture, beautiful design and sustainability. You don’t need to choose one or the other. We are all about investing in science and delivering excellence through a culture of transparency.

In 2009, we invented the CSA Philosophy. Incredibly simple and grounded in science - it just works.

This CSA method is becoming more and more mainstream by the day and we couldn't be happier.

Just use a vitamin C plus sunscreen by day, vitamin A by night. That's it. If you look after your skin and follow our simple advice, we believe you can look 40 when you’re 50.

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VITAMIN C - Well formulated, stabilised vitamin C provides all-important antioxidant protection as well as stimulating collagen production and blocking the development of pigment for smoother and brighter skin.

SUNSCREEN - It is estimated that 80% of skin ageing is caused by the sun. Sadly, skin damage caused by the sun doesn’t only happen when it’s sunny. Even on a cloudy day, you will still get approximately 50% of UV reaching your skin. Wearing high-strength sun protection every day is fundamental for a youthful complexion. With its importance in mind, Medik8 have a range of beautifully light but powerful sunscreens that protect and nourish the skin. Don’t worry, our high-tech Medik8 sunscreens do not feel sticky and greasy like those used at the beach. More likely, you'll probably not even realise your sumptuous day cream contains sunscreen.

VITAMIN A - As the Experts in Vitamin A (aka retinol), Medik8 has developed a wide range of night creams and serums to rejuvenate skin while you sleep. Vitamin A is quite simply the most important ingredient in anti-ageing skincare. It has a wealth of skin benefits including speeding up cellular renewal and reducing sebum production. It is crucial that Vitamin A is stabilised and has some form of controlled-release to ensure maximum potency with minimal irritation.

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We are all about investing in science and delivering excellence through a culture of transparency.

Which benefits does being an independent company bring?

Since everything we do is in-house with our own team of scientists, we are able to lead the way, innovate with original science and stay focused on results. The biggest advantage we have is knowing exactly where we are going.

We do the market research ourselves (think), create initial formulations in our on-site lab (lab), bulk manufacture when ready (make) and finally educate our training community plus create the marketing assets for each product and each initiative (tell). This is then shared with our network of distributors across the world and co-ordinated to create a simultaneous, joined up global launch through our vast network of specialist skincare clinics, salons, doctors’ offices and spas.

What's the most significant business lesson you've learnt to date as a brand?

Stick to truth. A focus on truth has been part of the brand since day one and improves every area of the business. It is something that we do very well as a team of scientifically minded people. Take products, for example. When we develop products, we choose ingredients that truly work and “do what they say.” This, of course, relates to better experiences and results for our fans. We can then also be transparent in our communication and have better relationships with customers and anyone who works with us. Sticking to truth continues to be liberating policy.

Which products would you recommend to someone trying Medik8 for the first time?

Of course, I would recommend that anyone new to Medik8 try one of our vitamin C products, a sunscreen and a vitamin A product, thereby completing our ultimate anti-ageing strategy of CSA in their routine. Some of my favourites in this category would be C-Tetra (vitamin C serum), Advanced Day Total Protect SPF 30 (moisturiser) and Crystal Retinal 3 (vitamin A serum).

Or for someone looking for an even simpler routine, I’d recommend our Essential CSA Kit, containing Daily Radiance Vitamin C (SPF 30 cream), and Night Ritual Vitamin A (cream).

With this kit you can complete our CSA strategy in just two products.

What is your vision for the future of Medik8?

The UK is our home market and our key focus. We have and will continue to resist the temptation to spread ourselves too thin. While we are looking to fully launch in the US next year, we are only looking to do this now because we have the capacity to do this properly. And still, ensure we have maximum attention on the UK to keep spreading the word about our skincare mission.

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Website: medik8.com IG: @officialmedik8

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CHAPTER THREE

THINKERS

FORWARD

definition

Forward thinkers are creative minds full of optimism and positive outlook for the future. With their ability to see the bigger picture and never being stuck in the past, they are the pioneers and early adopters of new ideas and processes.

Take the following stories as case studies of the future.

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Our mission is for our members to feel good about where - and how they work. To provide a place that isn’t just physically comfortable to be in, but also emotionally supports them.

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UNCOMMON

Workspaces designed to energise and inspire interview by Nicola McCullough, images provided by Uncommon

T

ania Adir spent the best part of a decade researching wellness in the workplace,

to create a more productive, happier working environment. Her journey led to the creation of Uncommon, beautiful co-working spaces designed to inspire and energise, surrounded by creativity and character - from bespoke scents and abundant plants to quiet meditation areas.

We caught up with Tania, Co-Founder and CEO, to delve into the story of her success - and why she believes work doesn't have to feel like work.

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It's not just about aesthetics and ergonomics, but it's also about every single detail; from the bespoke scents to carefully curated music playlists.

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Tell us your backstory and how it led you to create Uncommon.

I originally trained as a lawyer, working for Allen & Overy, before moving into property development with my husband, Gal. We started off doing up and selling flats, then houses and blocks of flats. The foray into workspaces happened by accident when the Council refused us planning permission to convert a warehouse to residential. Forced to rethink plans, we decided to turn it into a modern workspace instead, setting up a company to do so, which later became Uncommon.

In six months, it was complete and three months later, 90% occupied. This success encouraged us to expand the Uncommon platform - and after securing funding in 2017, we’ve gone on to complete further three spaces in Borough, Fulham and Liverpool Street, with our Holborn site set to open in 2021.

Do you have a company mission, written or unwritten?

Our mission is for our members to feel good about where - and how - they work. To provide a place that isn’t just physically comfortable to be in, but also emotionally supports them, boosting efficiency and reducing stress. Every detail of the Uncommon environment is designed to inspire and energise, and you’re surrounded by creativity and character. Our staff will make sure members have everything they need, help them focus, and calmly support them every day.

In what ways are you using the skills from the journey that brought you to this point?

A background in law certainly helps me move through the corporate world, negotiating new sites and partnerships. However, my passion lies in the design and wellbeing side and I spend a significant amount of my time researching new trends and wellbeing in the workplace, which has informed every aspect of our Uncommon spaces.

What was the biggest challenge in setting up the business?

For our first space in Islington, people doubted that we would be able to attract businesses and workers to the borough, but we very quickly proved this wrong. Since then, we have encountered planning and fundraising challenges, but these are the same for a lot of businesses.

And your greatest highlight since its launch?

This would have to be opening Uncommon Liverpool Street, our largest space to date. It’s considerably bigger than the first two spaces and also has the Well Studio. It’s been really well received in its first year and we’ve had fantastic feedback from our members.

You obviously chose the name Uncommon for a reason. Tell us what makes it different?

I think the fact that we have carefully researched so many aspects of wellbeing design in the workplace makes Uncommon different. It’s not just about aesthetics and ergonomics, but every single detail, including a lot you’d never realise - from the bespoke scents to carefully curated music playlists, the ceiling heights, abundant plants, and quiet areas where you can practice mindfulness or meditate. We also run lots of events for our members, from yoga to creative workshops.

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Tell us why wellness in the workspace is so important to you.

It’s quite simple really; providing a physically and emotionally supportive space boosts efficiency and reduces stress. This benefits businesses and the individual. Work doesn’t have to feel like work.

With a growing market and more competitors entering this service based model, how do you ensure that you keep your market share - and grow at the same time?

Firstly, I believe that competition is very much a good thing. It pushes us to differentiate, and this stimulates innovation. We run an owner-operator model, which may be less nimble than the leasing model in regards to expanding into new markets, but it provides us with greater overall control and a more attractive proposition to both investors, looking for assurances and security, and our tenants, as we can set our own rates. Although more capital intensive, it provides greater security and better growth potential due to the control of assets and offering resilient, sustainable long-term strategy.

What kind of businesses do Uncommon cater for?

Honestly, there isn’t a type. We have a huge variety of different businesses under our roofs, from start-ups to established enterprises and, of course, the freelancers, who use the open cafe spaces and hot desks.

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How do you work with businesses and what services do you offer?

We can offer flexible packages to suit any business. This ranges from the freelancer who wants to spend a single day or a weekend in one of our spaces, using a laptop in our cafe area, up to a large business who wants to take a private permanent office. We have hot desks or permanent desks which suit individuals or small start-ups. We also have a range of meeting rooms available for our members. Our onsite teams offer professional service and support, with a wide range of facilities from auditorium and events space to phone booths and 24/7 secure access – so we take all the hassle away.

Any advice for new tenants or founders who rent an office or space with Uncommon?

Make sure you take advantage of all we have to offer! We work closely with our members to ensure they’re happy and have all they need for a productive and healthy working environment. If you have any feedback or suggestions, our team is always happy to listen and implement.

What are your plans for the future of Uncommon?

In 2021, we’re opening our biggest space to date, in Holborn. It’ll provide flexible workspace for over 2000 people, with a members bar, rooftop terrace, Well Studio and other top-class facilities.

We’ve already been approached by large businesses with more than 500 members, looking to create their HQ with us. We will continue to build on this momentum, with plans to grow to1 million sq ft of owned real estate in central London, whilst in the next three years we will expand into key gateway cities across Europe.

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5 Top tips for a positive work environment 1. Agile Working: Support solo and collaborative work, with private and quiet places for concentration and shared spaces for idea sharing and teamwork.

2. Nutrition: Dehydration and hunger impact directly on cognitive and physical performance. Easy access to filtered water and healthy snacks will aid wellbeing.

3. Biophilia: Plants filter the air and have also been proven to reduce blood pressure and reduce stress.

4. Scent: Scientists have researched how the smell of a place influences how we think and behave. Scent can be effectively used in the workplace to aid concentration.

5. Lighting: There’s a basic human preference for natural lighting over artificial, and a link with productivity. Windows and views allow people to refocus and relax, reducing fatigue and stress.

Brand website: uncommon.co.uk IG @uncommon_space

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Case study

Growing business through innovative experiences How Heaps & Stacks helps brands engage and inspire customers interview by Karolina Barnes, images provided by Heaps & Stacks

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ore than 20 years ago, B.J. Pine and J. Gilmore wrote a Harvard Business

Review article where they predicted the rise of “experiential economy” as the next step in marketing evolution.

The argument was that as business environments become more and more competitive and consumer needs and values change, new ways of engaging them with brands will have to emerge. Fast forward to today these words couldn’t be more true. If brands and businesses want to survive in future, the focus of their marketing should be placed on reimagining marketing as a discipline, putting customer at the centre.

With a diverse set of clients from the likes of Google to Soho House and Nike, Heaps + Stacks team develops and creates experiential events that engage and inspire consumers beyond their expectations. Here we chat to its founder, Keziah Wildsmith, about the concept, early days, frustrations and working with global clients.

Tell us a little bit about how you got to where you are now?

I was working fulltime in events but in my spare time I kick started an Instagram account for Heaps + Stacks which is what aided us to bring in our first jobs, with clients like Google and gain a bit of momentum!

What is different about Heaps + Stacks?

There are a million events businesses out there (or many more probably) because it’s a fun job, who wouldn’t want to do this?! However, what’s different about Heaps + Stacks is we specialise in interactive workshops to aid engagement and help teach people a new skill or craft, and we do it all in a way which is styled to the max.

What were some of the challenges you had to overcome in the early days?

Having a full on, full time job for the first part of running the company was hard… it meant very early mornings and very late nights. As well as this, not having a team was a real struggle and left me again up even earlier, trying to get all the work or prep for events done on my own!

Another challenge was in the early days you are bound to be the most emotionally attached to everything, however you don’t have the money to execute every last detail as you’d like to – which was mega frustrating at times!

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Has your strategy and client base changed over time? Or is it still the same?

Our strategy is always evolving and we are constantly trying new things like a mad science experiment. This year we are pushing our influencer send out boxes (bespoke send out kits for brands wanting to gain coverage via gifting). As an example this Valentines we sent out mini pink ovens which have aphrodisiac pies in for our clients to enjoy which came with personalised oven gloves. As well as this, we are starting a supper club series which is going to be an Instagram-able delight and will link back to the mainline stuff we do.

Can you describe the process of an event project?

All of our clients work slightly differently, depending on their needs and how far they are along with the process. The usual goes a bit like this; the client approaches us with a rough brief for the event they want to create. We then next pitch back a few concepts to them which we think could work. They select which one they like (9 times out of 10 they select their favourite bits out of each concept to create one OTT concept), then we agree on a budget and kick into production where we share more moodboards, set dressing list, schedules, show details etc. Then, our team install and run all on site!

What has been the biggest highlight to date?

I’m always so pleased with the work we put out into the world with events including a Love Sausage roadshow for M&S’s Valentines range and also a denim themed disco with a drag show all on the same day! One of my real highlights of the last 12 months was a dinner we produced for the cosmetics brand Soap + Glory which included a gingerbread village and a mini train which delivered product and sweeties around the table.

What is the best business advice you received?

Mmm, I have received lots (mainly because I knew nothing to begin with), but one that jumps out at me is that being a leader doesn’t mean being super-human, never showing emotion or any sign of weakness. What makes an excellent leader is someone who’s honest, very human and someone the team can relate to and trust.

Brand website: heaps-stacks.com IG: @heaps_stacks

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CHAPTER FOUR

INSPIRERS

INSPIRERS

definition

Inspirers are creative minds who do things differently. They share their stories that open our eyes to new possibilities. Stories that trigger a new thought process, stories that ignite action. They know who they are and have the courage and ability to persevere. We hope that the following pages will do just that for you.

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SUSI BELLAMY STORY

Maximalist impact

interview by Karolina Barnes and photography by Peter Atkinson

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usi Bellamy wasn’t always involved in the interior business but her time as a fashion

editor in London and a stint living in Florence certainly gave her enough visual inspiration to last a lifetime. Now Susi is based in Newcastle-Upon-Tyne, with her art studio nestled in the Ouseburn creative community. In fact, it was a happy accident at the studio that inspired her debut collection: an abstract painting on a square canvas that prompted the question ‘would that work as a cushion?’

Her years as an editor has given her an unusual approach to creating her homeware range. She looks to the worlds of fine art, fashion and design to understand the core trends and colour palettes of the moment. She then creates her work within these parameters and carefully curates the final edit of pieces. Each design is considered and the ranges are designed to be mixed-and-matched with each other or bought in sets for maximalist impact.

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Her time living in Florence, however, was when most of her collection inspiration was conceived. “You couldn’t help but be inspired by the Renaissance art, the historical architecture, the colourful fashion and of course, the delicious food and wine. I learnt to marble in Florence and my abstract artwork was informed by the crumbling plaster of the palazzo walls with their layers of colours from over the ages. The Madonna series came together after a trip to Venice and then by my love of the street corner shrines.”

Susi’s burgeoning international success has allowed for the range to expand from cushions into wallpapers, fabrics, lampshades and even scarves and handbags. All of the collections have their own personalities and are drawn from different spheres of visual and historical reference. Some incorporate imagery from Victorian reference books, some are small cross-sections of her large scale abstract paintings.

Colour is central to Susi’s process and each product in the range is made in England something that Susi feels is important. “I wanted to work with local makers because it honours the integrity of the product and the design. It’s about quality and luxury, as well as creating something that is beautiful to look at.”

Exhibiting in London and Paris has put her firmly on the radar of the international design community who are craving vibrant colours and dynamic prints in the wake of a maximalist renaissance. She has created exclusive ranges for Liberty of London and Heals, ABC Home in New York and with Pad Lifestyle at Harvey Nichols becoming the latest prestigious boutique to stock Susi Bellamy.

Susi’s own home featuring many of her eclectic design flourishes has recently been profiled in Architectural Digest Italy. The house combines the modern and the classic with inventive touches: layering matching sets of her own designs, breaking the “fifth wall” rule by covering her ceilings in wallpaper, and combining Italian antiques with bursts of bright gold and rich jewel tones.

“It’s all about impact! We are lucky enough to have the high ceilings and large windows so playing with that and making the most of it informs most of my design decisions,” she says. “I think the idea of luxury, meaning sterile whites, greys and silvers, is being challenged by eccentric brands like House of Hackney and Gucci Home who are offering something that is playful, premium and indulgent without losing a sense of fun and humour.”

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Tweed Effect Jacket and Trousers 60

Can you tell us more about how you got to where you are now?

I have always been interested in fashion and design and working as a fashion editor in London for a time set me in good stead to think about stories and collections. After I stopped working I felt there was a creative gap from leaving the magazine world so when we moved to the States after my first child Jack was born, 26 years ago, I took up painting and drawing at the Delaware Art Museum. I haven’t stopped since. Many years later I enrolled on a BA in fine art which was cut short by my husband being posted to Florence for his work. Whilst in Florence I soaked up the Renaissance, the wonderful inspiration of colour and fashion and painted in the tower of the villa we lived in just outside the city. I painted landscapes, still life and created collages using Florentine wrapping paper and tourist prints. I also taught painting to expats and some locals. When we returned to Northumberland 6.5 years later I then did a MA in Fine Art at Northumbria University. Doing this degree made me think outside the box and eventually my work became more conceptual and was based largely on colour and the fashion trending colours of the season.

After I graduated, I took a studio in the Ouseburn area of Newcastle, known for designers and creatives, and began to paint again. I worked on a large abstract painting on wood and then had it cut up into smaller squares. I place the collection of smaller abstract works on a shelving system in my studio and thought they could work as cushions! I scanned them at the office of the Trend Bible opposite me and then had them printed onto fabric. I made a small collection of 10 cushion designs and entered the Design Event competition in Newcastle for which I was picked. The curator decided to recreate my studio set up at the show and displayed my abstract painterly designs on shelves. I was then featured in the Evening Standard and the Telegraph and offered a subsidised stand at Spotted at Top Drawer in January 2016. I was picked up by Amara and Liberty, and soon after I created an exclusive collection for Heals. As the collection evolved into fabric, wallpaper and lampshades, I then showed at Decorex and Maison et Objet. As I had these surface print designs, I also decided to make a capsule collection of luxurious silk scarves and velvet pouches.

How did you find the transition from working for Conde Nast as a fashion editor to launching and running your own business? What did you find difficult in the early days?

The transition from working at Conde Nast to starting my own business was 20 years apart, but the ability to organise a team, style and organise my own shoots and work on PR has helped me enormously. What I found difficult were production and accounting!

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Gelo Blu Wallpaper

Can you take us through the design process and the storytelling of each collection?

The abstract designs were taken from crops of my artwork and then printed onto velvet which gives a depth to the design and makes the art come alive. These images were then mirrored to create a repetitive tile to form the fabric and wallpaper. The marbled papers became the cotton collection. Marbling on birch plywood was the basis of the linen collection and my geometric block photographic images became the silk cotton collection which is available from Harvey Nichols. The entire collection is inspired by my background in fashion, my love of colour and my time living in Italy.

You manufacture your products in the UK. Why is it important for your brand to keep production in the UK? What are the biggest challenges, if any?

I decided from the start that if I was going to set up a business that I would like to support our home economy. My fabric and wallpaper are printed in the UK. The cushions are made locally apart from larger orders which are produced in London. Even the duck feather pads come from the Norfolk Feather Company. Also, I wanted the quality and standard of my collection to be second to none, so I have worked hard to only work with the best printers and makers to create a luxurious collection with integrity and quality. I was once told to be proud of my price and not try to water down the collection and lower the standard.

You recently partnered with John Lewis for a pop-up event. How did you find the experience?

I was lucky enough to have a pop up shop at John Lewis recently as part of the Great British Exchange which supports, encourages and champions British independent designers and brands. It was a wonderful experience and John Lewis were so welcoming and supportive.

What are you currently working on?

I have been returning to the art studio recently to create artwork for a show in Florence and Art for Cure in Suffolk. Both events have been cancelled for now but my plan is to keep working to create new work and see what new designs might come out of it. My work is very cyclical so the designs come from the original art but there are moments when ideas for painting can come back to me via the textiles.

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Please visit Susi Bellamy website: susi-bellamy.com Email: info@susi-bellamy.com IG @susibellamy

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Éadach by Sara O'Neill

Creating a brand based around storytelling interview by Nicola McCullough

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esigner, Sara O'Neill of Éadach, creates handmade garments featuring

intricate illustrations on silk and vintage leather, inspired by her grandmother's tales of Irish mythology and life on the North Coast of Ireland.

While selling across the world, Sara's strongest customer base is in Ireland, where she produces biannual collections for prestigious luxury retailer, Brown Thomas Dublin, among others. I caught up with Sara to explore her love of storytelling, a passion for small and exclusive slow fashion... and why the customer is her most important influencer.

We love that storytelling is so central to your work and would love to hear your own, including how Éadach evolved.

From a very young age, I was interested in fashion and I loved drawing, I used to design outfits and had some lovely little vintage pieces. That stayed with me and as I became a teenager my own personal style developed into quite an extreme look. I veered between Goth and Punk until I was in my mid-twenties. I was quite a shy kid, and when I realised how powerful image could be, I liked to play with that. My image attracted a lot of attention; at least half of it was very negative, but I definitely learnt from that. This was back in the 90s and 00s on the North Coast of Ireland.

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So my love of fashion was never really about this or that trend or certain labels, I just love the psychology and language of fashion and style, and the craftsmanship that I discovered through vintage clothes. I went on to do my BA Hons in Fashion and Textiles in University of Ulster. I was very lucky that my parents were so supportive because honestly in a world before the internet, the fashion industry seemed very far away. I didn’t love it to be honest and decided I didn’t want to be a designer. After I graduated I was waitressing and met a photographer who became a good pal; he asked me to style a shoot for a magazine, and I then fell into styling. This was around 2005, so pre-Instagram and pre-crash... there was loads of work and I was flat out styling magazine shoots, ad campaigns and shows for over a decade.

Around 2010, I started drawing again, for fun, which I hadn’t done since college. I had a couple of exhibitions and signed with an illustration agent in London and NYC. Around 2013, I played around with the idea of merging the fashion and art sides of my work and started printing my drawings on T-shirts and silk, which I used in collaboration with Irish designer, Una Rodden, to create a few beautiful dresses.

In 2014, a couple of things happened... I was awarded the Creative Industries Innovation Fund by the NI Arts Council, and I met my now - fiancé, Al Mennie and moved back to the North Coast. The award from the Arts Council allowed me to experiment and play around with potential products, something I’d never been able to do. Being freelance since I graduated meant I never had a spare penny and was always chasing overdue money... I’m sure any freelancer knows how that feels.

Moving up to the North Coast and spending time there with Al (he’s a big wave surfer so knows parts of the coast I wasn’t even familiar with, even though I was brought up there) brought back the old Irish myths and legends my granny told me when I was younger.

Standing on parts of the coastline, which haven’t really changed in centuries, really brings stories like The Children of Lir and tales of Pirate Queens and Warrior Goddesses to life.

I started to illustrate these stories... I begin with pencil and paper and then work digitally… the images are then printed up onto silk.

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Initially, I started off with just a few prints on scarves. I made the decision not to do seasonal trends, but instead do limited edition pieces like I had done previously with my fine art. I wanted customers to feel they were investing in a piece of art to be worn and loved and cherished for years, not something that would become irrelevant in fashion terms. I started ma-king up garments - dresses and kimonos - at the kitchen table. I did not love that, as my passion lies in the drawing, the print design and the final garment, not in the cutting and sewing.

Luckily around that time Lorraine Cunningham, who had been the sewing technician who had taught me at uni (for her sins), contacted me and started making the Éadach garments, which is incredible. Her fussiness that so devastated me in uni is now something I highly prize! She is so skilled in ways I would never be, so we’re a great team. The garments are tricky to work with because of the very specific placement of the prints, so they take time to make, but I like that. I started to sell online and within a year I had pieces in Brown Thomas Dublin, and have been doing two collections a year for them since - as well as through a couple of retailers in Belfast.

Where did your love for Irish mythology originate?

From my grandmother Alice, the best storyteller I will ever meet. She told me the old Irish myths when I stayed with her in Dublin, as well as terrifying tales of the Banshees and Changelings that (she said) were often seen in Glencree where she grew up. She told everything with a flourish and much embellishment and never let the truth get in the way of a good story!

How would you describe your business model - and what makes it succeed in such a fiercely competitive industry?

From the beginning, I decided not to do seasonal fashion and to make pieces slowly and beautifully. I think my customers really appreciate that because they know they are investing in something that they will wear for years to come, even if they have to wait to a few months to get their hands on it. I really have no plans to expand... I like to stay in control, to keep producing small amounts of hand made and hand painted pieces. I don’t want to appeal to everyone... I know my customer and I want to create pieces that will make her/him feel amazing, which are a strong, versatile and magical addition to their wardrobe.

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Are most of your customers Irish or do you sell further afield?

I have a very strong customer base in Ireland, north and south, but have good customers across the world. Some love the Irish stories, some just love the prints and garments.

Every country has their own stories and you tend to find there are lots of cross-over in those stories, so the stories have a worldwide appeal.

What was your biggest challenge in establishing Éadach?

Honestly, I can’t really think of one. It’s hard work but it’s an absolute pleasure. After ten years of commercial styling, it’s a much more steady pace.

And your greatest highlight(s) since its launch?

Probably the day I brought my granny into Brown Thomas to see ‘our’ pieces for sale there. My silks inspired by her stories… it was the Banshee, Pirate Queen, Queen Medb and Children of Lir then. When I was little, she used to bring me to Grafton Street at Christmas to look in at the windows of Brown Thomas and Switzers. I’m sure neither of us thought nearly 30 years later we’d be back and selling there! She passed away a couple of years ago but I’m so glad I got to share that with her. She loved seeing her name in magazines, seeing the collection on the catwalk and on customers. She had ten children and never really had a chance for a career so pretty good to have a new-found career like that in your 80s!

Which skills from your journey to date have best equipped you en route to today?

I definitely learnt a lot from my work as a stylist. The pace of work was pretty relentless sometimes and it taught me to deal with a lot of pressure and deadlines. And obviously I gained a great insight into so many different aspects of the fashion industry that designers often don’t experience and that’s always useful. From my own experience as a teenager, I realised how powerful a special garment can make you feel. My studded and hand painted punk jacket was like my street armour. And I like to think that’s how my customers feel when they don their silk and hand painted vintage leather.

What's the best piece of business advice you've ever received?

Social media plays a massive part in fashion these days and brands can get really caught up in the whole influencer thing. A good pal and mentor, who is also the chairman of the Council of Irish Fashion Designers (I’m a member of that), said in a meeting once that our most important influencer should be our customer.

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My customers are the ones who influence me, and I want to create pieces for them.

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That really stuck with me. I’m so lucky to have brilliant customers that I can run ideas by, they are very supportive and honest and that means a lot. They are the ones who influence me, I want to create pieces for them.

What's the biggest compliment someone could give your brand?

Just wearing it. Loving it. When I see people on the street or on my newsfeed wearing Éadach and looking and feeling amazing. I mean, who could ask for a bigger compliment than that. I also get sent pictures of people spotted wearing my designs, I love that the prints are so eye catching and recognisable.

Who would you most like to see dressed in Éadach?

Probably Stevie Nicks or Debbie Harry? I could just imagine Stevie swirling in silks and Debbie in a hand painted leather jacket, they’ve been my style icons for 30-odd years. I’ve been so lucky that some incredible women in the fashion, music and film industries wear Éadach. People I’ve grown up seeing on Vogue covers, album covers and on the TV or whatever. That’s quite surreal.

Where would you like to see your business in five years?

Really very similar to how it is now. I’m sure I’ll add a few products along the way. But I plan to stay small and exclusive.

Describe your perfect day.

Sunshine, coffee, good food. Either on a quiet beach on the North Coast with Al and our dog, Blyton, pottering about the garden or working and people watching in Dublin.

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Website: eadach.com IG @eadachbysaraoneill FB @saraONeillStylist

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High Priestess

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Artist Story

Inner work with Sophia Schorr-Kon interview by Karolina Barnes, images provided by Sophia Schorr-Kon

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rom working as a hairstylist for a large global company to learning photography

and shooting music bands and large festivals, Sophia Schorr-Kon has had a varied and rich creative career. More recently, she has immersed herself into the world of art and art collaging. Her work is very instinctive and keeps a creative conversation going through her unique collection of works released at new moon and available only for one moon cycle. Her images at their core are an invitation to pleasure, creating new worlds while weaving the past into the future through the present and reimagining the now.

I caught up with Sophia to tell me more about her fascinating journey of self-discovery, creativity and the concept behind her latest work.

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Let’s start from the beginning. What has been your journey so far?

I started my working life as an apprentice hairstylist, bored of the classroom I feigned interest in Sixth Form and left to go and take up an apprenticeship at 17. I was fascinated by the fast paced environment and the tactile nature of working with hair and at that point in my life creating a space I was in control of was very important to me, so I jumped at the chance to join a large global company and throw myself in at the deep end. I learnt quickly and excelled in this first chapter of my career, teaching, working in the salon and being part of the art team for this global brand. I learnt so much about people and thrived on learning through watching and doing, the foundation and satisfaction of working with people I received has never left me. I hit my early 20's with gusto and have never worked so hard at that time in my life, but unfortunately, because of a family tragedy in my childhood I hit a point in my life where I could not cope, and the grief of losing my father at a young age began to catch up with me. I had to step out of Salon life due to anxiety attacks and early signs of depression, so I left my role as a stylist and booked a one-way ticket around the world in search of my next chapter. I took a camera as a companion around the globe, and I explored new places through this new medium. I was fascinated not so much by people, but by light, non-space and finding beauty in odd places. On returning from this revolution of the globe, I went to LCC to learn how to work as a photographer professionally. After graduating, I then assisted photographers and artists and worked as a music photographer shooting bands, and large festivals. I worked with politicians in the political sphere, did personal projects on Punks and then went on to carve a niche within the wedding world, interiors (and most recently) portraiture supporting female entrepreneurs. As you may be able to tell I have always had eclectic tastes and I am a visual magpie. I learnt so much about myself and the world through being a photographer, you are allowed to look, you are given permission to observe, and in that quiet place, I was figuring out an inner journey and taking steps along the scenic route of my life in search for my purpose. I have done my 10,000 hours and have learnt the rules, and it is now time to break them!

I believe as an artist, one's work is a reflection of one's life and there are times when living life becomes the "art" and then the art takes over when you are ready to hold it. This is what my last chapter has been about, living and learning how I want to live. I got itchy feet after being in London for so long and quite literally followed my heart out of the city and to the coast. I went with ideas of being an artist and had romantic ideals of what it would be like, then got hit with the cold hard reality that I had to crack open in order to shed the old and rebuild a new life from the ground up. Part of this journey was a powerful personal relationship that came and went, in which I was witnessed so deeply and enabled me to embody new parts of my sexuality and alighted a deep in­­­­­terest in the connection between sexuality and creativity and the erotic aesthetic. I knew then that my purpose was to work within this space with my lens as an artist and guide.

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You have a very interesting signature style in your work, could you describe your process?

My work is charged with erotic energy and I use the kinetics of Kundalini to create with, working on the page and on the body my images are a conversation between the two, one helps the other as I embody emotive states and record them with my camera, this then allows new ideas to flow on the page. Self portraiture is a powerful tool and it has helped me evolve personally, being able to witness myself in changing states has been key to rebirthing myself within my creative practice. Nude portraiture is a radical form of self acceptance, and I will work with other women in this space in the future. I see the collage aspect of my work as a way to give new context to previously fixed ideas of the feminine, I then combine the collage with light and shadow play and also elemental aspects to blur the lines between fantasy and reality. I work with crystal prisms to create abstractions and use mirrors to reflect and split light to infuse images with light as well as manufacturing shadows. This symbolises that if we can own and accept both in ourselves, then we become whole. There is an element of playing with time that I love about the image reappropriate, a clear mark between the old and the new world, "time weaving" I call it and it is an underlying concept behind all the work I do. Creating from the past, in the present to create new futures.

Working with my own erotic energy as a creative force is potent and I truly believe that if we do the work to be honest about the relationship we have with our sensual selves, this can unlock profound healing and clear space for our calling to emerge. The inner work is as important as the outer and facing our wild natures and desires is a potent practice that can unearth rich seams of creation. It is only after going on my own deep quest of turning towards the darker desires that lie in my heart that gave me the power to own fully who I am, and start to make work from this place.

Through this period of lockdown, it felt like I was given permission to go where I have wanted to go for a long time. The pure fact that I was not able to be a traditional photographer because of the restrictions meant I turned to my creativity as a way to stay balanced, stay positive and to contribute to the collective in a positive way through artwork; I had to work with my camera differently. It made me use what was at hand to express what was within and put myself on the line creatively in a way I had not done for over a decade. The apocalypse was the secret ingredient I needed to start creating from the heart and gave me time to play in new ways with my creative vision. I am so grateful to have had this time to birth a new practice, one which feels aligned with who I am now and allows me to research and create work about all the things that have been so interested in these last few years.

Who or what inspires you?

For the last year, I have been looking at female artists who have worked with the erotic in different ways, I am inspired by artists such as Leonor Fini, Lee Miller, Meret Oppenheimer and Dora Maar.

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Also the work of Bauhaus photographer Florence Henri really moved me when I discovered it a few years ago, her work with shadows is stunning. Other photographic heroes are Guy Bourdain, Brassaï, Ralph Gibson, Weegee, Carlo Mollino. The attitude of Matisse and Frida Carlo very much held me through this time of lockdown, I pictured them creating from their beds, adapting their practice to their restrictions and using it as a strength and not a weakness. One of my favourite things to do is to spend a day in the Victorian hush of the V & A art library and get out as many risqué books as I can and sit for a day pouring through the past to learn how different artists worked with the erotic and surreal while I hear the gentle tap, tap, tapping of keyboards and creaking of floorboards. I work through ideas quite fast and so I am constantly looking for new themes, this can come through being inspired by an object, a flower or a feeling. My work is quite intuitive, so staying open to signs is an important part of my practice.

What is the concept behind your latest work?

My work centres in its essence around the divine feminine. I look at the surreal nature of desire, feminine creative power and how the erotic intertwines with being a female. Some images are created on a specific theme or experience and other pieces are felt and created instinctively. I see my images as being charged with a certain kind of energy that can be felt when you look at them and live with them. The divine feminine is underneath everything I do and I see the act of making as a way to open and to dance with the unknown, my aim is to work more from the heart than the head, as at this point in our society we are all processing so much so fast and I want my work to be in conversation with this collective shift we are all going through. I undertake ongoing research looking at other artists and movements, and these influence themes and techniques that I want to work with. Collaborating within the present moment and the elements is also part of my practice, so my concepts are a framework and then the making and tactile process informs the aesthetic. I am fascinated by lo-fi solutions that can create a high finish look. I enjoy creating in camera effects rather than digitally manipulating images, so I am always looking at new ways to play with distortions and elemental interactions that in some way disorientate the viewer just for a moment as it draws the viewer in so they have to really look to decipher what they are seeing.

Time is also an underlying theme that I like to play with as the act of creating these pieces and the reappropriate of found images, and placing them in a new timeline, mirrors this new time we are all living within and co-creating. Life is not normal, so let's not go back there, I am working towards the "new extraordinary", not the "new normal".

“

Let's embrace the new extraordinary, not the new normal.

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Wetdreams 78

What is the best advice you ever received for life and business?

Be yourself.

This is the simplest advice for life and work, but in my experience, it takes quite along time to figure out what that actually means.

I believe we are all given everything we need to be who we are, but time is a great factor in the discovery and acceptance of ourselves. I was always encouraged by my family to follow my heart, and sometimes I cursed them for it, as on days where I had no idea where I was going and the self-doubt machine was working in overdrive, I wished I could have been an accountant or a lawyer or something “normal” where there is a clear pathway to get from A to B. It would have been much simpler! But I would not change anything, I had to make the mistakes that led me to try different things, I keep learning and gently evolving who I am and what I do. I think having the courage to follow your heart and build a life from that place is a bit like sailing a boat, you can’t fall asleep on your watch and you have to adjust your co-ordinates daily to catch the wind, and chart your course as you go. It takes work to learn the ropes, then one day you are on the sunny deck you can look back and see how far you have come, and you feel the energy of new creative currents surging behind you. There is nothing sweeter than those moments when you take stock and relish the wild and tumbling relationship you are building with the ocean of the collective creative field and know you have a part in expressing the magic of the world to others through what you do.

We are all about collaborations. Who would you like to collaborate with?

Dream brand collabs would be with The House of Schiaperelli, Fleet Ilya and with Erotic Muse Tessa Kuragi.

I am really interested in collaborating with lingerie designers, outstanding jewellers and unique boutiques along with interior designers and stylists who are looking for unique pieces for their clients spaces. I am also open to working with charities and causes that I align with as art can amplify in ways that words can't. 15% of all my print sales I donate to different charities throughout the year, and I want to make sure that a selection of my commissions are pro bono and are a vehicle to amplify the voices for those that need it most.

Thank you so much for this opportunity to share some words on my work with you and your community.

E

Artist website: sophiaschorr-kon.com

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Marketing

The power of brand story How brand storytelling can help to increase your brand awareness, sales and customer loyalty. words by Aimee Stammers

“

Marketing is no longer about the stuff that you make, but about the stories you tell.

Seth Godin Given the new and unknown times we find ourselves in, it is crucial that brands now focus on connecting with their customers on an emotional level, cultivating brand loyalty and expanding their customer base with effective, considered conversations.

Having worked with both global brands and independent start-up companies to help them engage their audiences, I believe there is a fundamental communication tool, one that transcends all marketing channels, that smaller brands often overlook.

And that is the power of storytelling.

Stories capture attention and allow you to connect with your customers on a deeper level, and should form the basis of all communication efforts, from customer experiences to social media content, collaborations and paid for marketing campaigns. Advertising agencies have been applying this concept for years and it's one you can employ too, once you appreciate the correlation between you, your brand values and the customer experience. As its creator, you are your brand and therefore an authoritative and perfectly placed storyteller. No-one knows more about the qualities and processes that are unique to your brand then you do. Educate your audience about your craft and the dedication involved and allow them to fully appreciate the value of your products and become personally invested in your brand.

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TIP: Your values are defined by all the facets and decisions that shape your product.

Identifying your customer is a vital component to good storytelling. A researched understanding of who your audience is, their needs, aspirations and habits will shape how and what you communicate.

The trick is linking your product knowledge with an understanding of your customer to illustrate just how your product will enrich their lifestyle. Creating an effective story that shows the values at the heart of your brand and conveys how they resonate with those of the customer.

The brand "Paynter" tells the story of their brand and product extremely well. There is just one product; a jacket, which is made in limited numbers and only available to buy a few times a year.

With a precise understanding of what their customer is looking for and a clearly defined ethos, all their marketing efforts immediately identify their niche consumer and take them on a journey of discovery through the entire production process. Cleverly drawing them into the brand's world, Payter creates a genuine interest and desire for the jacket. Because the audience sees each element being carefully (and lovingly) sourced, they become emotionally involved in the process, gaining a full appreciation for the product's worth. Through demonstrating their quest for perfection – and producing only what is needed – the brand generates high demand and every batch released has sold out almost immediately.

TIP: Explore the resources and skills invested into every component of your product and consider how they add value to your offering and how they relate to the customer experience. For example, if a vast amount of time is spent researching and testing an element of a design then highlight this and demonstrate how it enhances your customer experience. Show the beauty of the detail and the pleasure of wearing or using it will bring.

If you are a craftsperson, your skill and passion bring an emotional dimension to your story. More and more consumers are placing a high value on owning products created by hand, savouring the bespoke, original qualities a handmade piece offers and enjoying a connection with the artisan behind the product. Stories that illustrate your craftsmanship, your inspiration and your design choices emphasise the virtues of a handmade product and create a personal connection between the maker and buyer.

The slow fashion brand "Weald Handmade" celebrates traditional techniques and the beauty of the leather as a material. The designer connects with her audience by conveying her shared values - portraying a lifestyle dedicated to sustainable living that resonates with her target customer.

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The brand engages with behind-the-scenes insights, explanations of their designs and stories of their customer's experience, continually developing an ongoing conversation with their audience. It’s a great example of how a brand creator is best placed to promote the positive assets of their product and the tangible, emotional responses they evoke by nature of the fact they understand the inherent qualities and characteristics of the materials and processes involved.

TIP: As a maker, use your experience of the process and materials to portray the feelings a product will inspire. For example, a fabric handwoven with silk and cashmere might create a feeling of luxurious comfort and warmth, a made-to-measure garment may produce a proud confidence, whilst a sustainable product can instil a satisfaction of supporting a cause close to one's heart.

Even in the current climate, if you really understand your audience's emotional connections to your product, you can identify smaller sub-stories, which enable you to form specific campaigns you know will resonate.

In late April this year, jewellers "Black & Sigi" launched a limited edition collection that focused on one niche element of their brand. Considering the recent lifestyle shift and new concerns of their audience, the design duo released a range of necklaces that incorporated semi-precious stones many of their customers consider to have qualities that promote wellbeing. The pieces perfectly connected the assets of the brand with the needs of the customer and proved very popular, with many customers buying several different designs.

TIP: Knowing the interests, habits and needs of your audience helps to shape your story and identify your most significant brand values. It will also reveal the best channels through which to engage them, allowing you to concentrate and direct your efforts. Take every opportunity to get to know your customer. The more you connect with them, the deeper your understanding of their needs becomes. Chat with them at events or in your store and engage on social media.

Remember, the most effective stories are those that clearly understand the reader's perspective. So take note, to grow your customer base, you must consistently demonstrate the physical and emotional benefits of your craft and narrate a story in which your audience can envisage themselves.

E

Aimee is a PR and marketing expert who specialises in brand storytelling. She helps brands to build brand awareness through bespoke strategy plans.

Website: aimeestammers.com IG: @aimeestammers 82

Fashion Business

Playing the global game words by Dessy Tsolova

W

hat a phenomenal time to be alive. There has been no other time in

the history of humankind when so much has changed in such a short period of time. When the opportunities we have, outnumber the obstacles we face.

Being creative in today’s world is exciting. The world really is our oyster. Not only that – but for those of us more conscious about life in general and life on our planet – there is no better time to create, profit and instigate change for the better.

But how can creating and profiting ever be good for the planet?

I know…. It’s almost like the two concepts are mutually exclusive.

Or are they?

Have we been conditioned to think in black and white and the magic really is outside of the lines we have been thought to colour within?

As a creative who grew up not allowed to think of creativity as a profession, I count myself lucky to do what I do today. I grew up in a country where travelling outside of our own city even was an ordeal. A lot has changed since then. My thirst for travel has taken me to far flung corners of the world.

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My curiosity and work in fashion has made me criss-cross the world to find factories for all kind of products. In the process, I have come to know the ins and outs of societies and cultures as far removed from my own as possible. And in the process, I realised that it is possible to have a global outlook and create a local impact.

Congratulations, you’re global.

I firmly believe that if you are a creative, who wants to create a business that’s profitable and meaningful – not a hobby, but really, a business that pays the bills, fancy holidays and your kids’ education even, you can have it all. And you can also help impact the world positively in the process.

The minute we launch our websites and open our virtual webstores – we are global.

Available to anyone in any corner of the world that has access to the internet.

We are so global these days that having brick and mortar shop – the dream of dreams for the generations before us is no longer appealing, let alone profitable.

Through the online ability to advertise and reach the unreachable of yesteryear, a fashion or creative brand is no longer just a brand. A brand in today’s world is also a media agency. Creating content, advertising and marketing is a core activity that takes up more time than the actual, vital activity of product creation.

And yet…. Some things never change. No matter how fast the world spins and changes – a product-based business relies on its product. The quality of the make, the design signature of the brand, the materials used to translate the idea into a finished product are the vital ingredients.

Choosing wisely, executing masterfully is what brings in the rewards.

Old metrics vs New metrics In yesterdays’ world, the rewards were often measured in monetary terms - sales, profit, margin, turnover…. But in today’s consciously elevated world and collective mindfulness – success is found in the intersection of profit and purpose. Success is when what you create and how you make it happen, leaves the world a better place.

One way of creating impact is to be sustainable and ethical. Two camouflage terms I’m not fan of because of the myriad of empty words and misunderstandings that hide behind them. “Sustainable”, meaning that you don’t deplete the planet’s resources and create more waste. That you don’t harm the environment by generating directly or indirectly pollution, toxic gases and unprocessable waist.

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Given that the fashion industry is currently the second largest polluter – there’s a long way to go and much to be done, though every little will helps and everyone should try to do their fair share – the real impact will happen when the large players join the small brand warriors and together meaningful effort is made towards a clear united goal.

“Ethical”, on the other hand, relates to how you treat the people you work with. The people who work for you directly and indirectly.

The best way to create a lasting change and be sustainable and ethical is to invest in your people and location. Here is where many get confused, in my opinion. To most people, local means where they live and work. But what if there was another “local”?

The new “local” that’s far away.

Not your office or home location, but the location where the most impactful and important “assets” of your business are created. Usually this is where your manufacturing takes place. Or where the most of your raw materials originate from.

Manufacturing locally to where you work and live is not always possible. Sourcing everything locally to where you manufacture is also often impossible. We have to be realistic and accept that resources are scattered at different locations, all over the world and a certain amount of movement of goods will take place no matter how hard we try to avoid it. No matter what you do, there will be some carbon footprint trail left behind you. But that can be offset by the bigger value and impact any business can create by investing in the local community where their manufacturing or main material sourcing originates.

How to be a better local If a concerted effort was made to centralise as much as possible the sourcing locally as well, or in a closer radius to the place of manufacture, even more people will be employed and the carbon footprint will be kept low. If the workers are paid fairly and additional benefit schemes created and invested into, the local community will thrive. The cost to the Western designer – minimal. The impact created – maximum.

An Indian factory I worked with in the past, employing mostly men, who often were the main breadwinner of their large families, is one such example. Once per year, they organise a family day for their workers where food and music were provided for everyone to enjoy.

More importantly, on that same day, a group of doctors were brought to the premises that gave a free health check to the workers and their family members.

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A Turkish factory I also worked with some time back that worked with big brands and was able to defend well their prices and safe guard their own margins, built a new factory premises that included prayer room and breastfeeding room for mothers, who came back to work, but had small babies at home. A family member will bring the babies to be fed, especially on the days when workers had to stay late to complete urgent orders.

These examples are of businesses taking care of their localities and helping create support and improvements. Though there aren’t many examples of Western designers making an impact locally, I recently did come across one. Natalie Simond, the founder of sustainable and ethical jewellery brand Amadeus Bijoux (www.amadeusbijoux.com).

She has invested financially into the Brazilian mine from which she sources her gemstones and the Philippines pearl farm supplier. This has allowed her suppliers to in turn invest in their businesses and make them more sustainable and ethical, as well as invest in their local communities and create a wave of social change and improvements. This kind of forward thinking is rare in fashion, especially for small brands. It requires brave new thinking, long term vision and passion beyond the product and business KPIs. Such initiatives can become more mainstream if we – the Western designers - take an interest in the betterment of the local community on which our businesses depend on. There is so much that can be done, if only we stop and take a little time to get to know the people who create our products and the life they live. With so little from our side, we can impact our new “local” in a way we can never accomplish in our own real locality.

So, can you be global and local at the same time? Sure! You just need to reframe what local means and open up your mind to the bigger picture of life on our planet.

Doing good has no boundaries.

Contributing positively has no borders and demarcations.

Every little helps and in turn, creates a compound effect over time, much greater than we can imagine today.

So, what is your “local”? How can you invest in it, all the while playing the global game?

Website: fashioninsiders.co IG: @fashioninsidersco

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E

ESTILA CLINIC

5 ideas for attracting new customers words by Karolina Barnes

I firmly believe that it's important to keep acquiring new customers for a couple of reasons. Firstly, existing customers are not for ever. They will either move on, replace you with one of your competitors, which is quite harsh but that's the truth, or

3. GIVE INCENTIVES Create a sign-up / newsletter / first order special discount either as a pop-up which is strategically placed across your website or as a sign up box.

no longer need the product or service that you offer, or some will die. Fact. Secondly, new customers will help you grow

Think about where you can maximise this kind of feature.

your business and make you more money. There are many

Once they are on your mailing list, you have plenty of

ways of attracting new customers, which don't cost the Earth,

opportunities for you to turn them into paying customers. But

but here I share some of the easy-to-implement, actionable

don't try to hard sell, start with brand storytelling by creating

ideas.

a series of at least 5 - 8 emails where you communicate your ethos, beliefs, values, mission and vision. For example, jewel-

1. IMPROVE WEBSITE EXPERIENCE Websites seem to be more important than ever before. It's our virtual shop window. When potential customers arrive on your website, you have the opportunity to turn them into new customers. The best way to do that is by providing a stand-out digital customer journey. At STUDIO/ESTILA we consider two things - start and end of the journey from the customer’s point of view. So ask yourself: Where do you want the customer to start? What pages/content do they need to read for them to gain trust? What pages are they probably going to visit before making a purchase? How do you take them from pages which build trust to product pages and shopping basket? What information should you provide so customers don’t abandon the basket? After customers make a purchase, what pages and steps need to be implemented for automation and after sale care? Put yourself in your potential customer shoes and review your website in detail - all copywriting, quality of photography as well as all the above. If you miss this step, you might be attracting the right customers, but not turning them into paying customers.

lery brand Monica Vinader, as well as the brand story, shares her customer stories and stories of inspiration behind her collections before any sales emails land in your inbox.

4. REWARD SCHEMES Reward schemes have many shapes and forms. Explore different ideas by revisiting your customer behaviour, wants, needs and desires. Consider gift cards, point system schemes, loyalty cards and VIP clubs, thank you cards and vouchers.

Think about what would work best. If it doesn’t work, don’t be afraid to change your strategy.

5. PRINTED MINI MAGALOGUE Remind your existing customers about your brand story, new products /collections / launches and other news through printed brand mini magazines. With highly visual, storytelling content, stunning photography and cleverly written copy, your existing customers can share it with friends, work colleagues and mums at school gates. This kind of word of mouth marketing tool is very effective, and yet it is still very underrated.

2. IMPLEMENT REFERRALS Websites and emails are perfect platforms for creating referral opportunities. For example, you can create a referral pop-up box on order confirmation page, giving your existing customers a promotional code which they can pass on and earn something in return.

Website: studioestila.com IG: @studioestila

Stand out from the crowd by sending your mini magazines at least twice a year.

FREE GUIDES - NO CATCH At STUDIO/ESTILA we have created free downloadable guides to help you craft your brand story and customer journey. No email sign ups, no sales funnels, no catches.

Get yours on studioestila.com/free-resources 87

BLACK BOOK As we are passionate about finding the best stories of creatives, designers and artists, we spend a great amount of our time scanning the market. We want you to be the first hearing about the amazing talent and brands we have on our doorstep.

This BLACK BOOK has two purposes - a filter of quality and resource of industry contacts.

ART

EVI ANTONIO

SOPHIA SCHORR-KON

artist

artist

w: eviantonio.co.uk

e: sophia@sophiaschorr-kon.com

@eviantonioart

w: sophiaschorr-kon.com

HOMEWARE, WALLPAPER, TEXTILES & FURNITURE

ELIZABETH HAY DESIGN interior designer

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SUSI BELLAMY interiors brand

e: sales@elizabethhaydesign.com

e: info@susi-bellamy.com

w: elizabethhaydesign.com

w: susi-bellamy.com

@elizabethhaydesign

@susibellamy

BLACK BOOK As we are passionate about finding the best stories of creatives, designers and artists, we spend a great amount of our time scanning the market. We want you to be the first hearing about the amazing talent and brands we have on our doorstep.

This BLACK BOOK has two purposes - a filter of quality and resource of industry contacts.

FASHION & BEAUTY

ÉADACH

MONSOON AND BEYOND

fashion accessory brand

fashion brand

skincare brand

w: eadach.com

e: info@monsoonandbeyond.com

e: hello@medik8.com

@eadachbysaraoneill

w: monsoonandbeyond

w:medik8.com

@monsoonandbeyond

@officialmedik8

MEDIK8

CREATIVE SERVICES

SHANA HARRISON

UNCOMMON

AIMEE STAMMERS

sales representative

workspace provider

marketing & PR

community and business support

FASHION INSIDERS

e: sharrison@porterteleo.com

e: sales@uncommon.co.uk

e: aimee@aimeestammers.co.uk

e:info@fashioninsiders.co

@shanaharrisonuk

w: uncommon.co.uk

w: aimeestammers.com

w: fashioninsiders.co

@uncommon_space

@aimeestammers

@fashioninsiders 89

OUR STUDIO

Be seen Be heard Be you

TELL YOUR BRAND STORY WITH STUDIO/ESTILA STUDIO/ESTILA is the most recent edition to the ESTILA brand. Created specifically for savvy business owners of lifestyle and design brands, through our design and consultancy services, our mission is to help you reach your goals while maximising your resources. This is what we do:

STORY DESIGN

CONTENT DESIGN

TOOLS DESIGN

Brand Development

Story Development

Marketing Campaigns

Brand Identity & Language

Art Direction + Styling

Advertising Campaigns

Brand Strategy

Copywriting

Branded Magazines

Brand Positioning

Photoshoots

Print Collateral

Graphic + Web Design

Get in touch via email studio@estila.co | Visit our website for more details and portfolio studioestila.com

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Even better, why not pass it on to your favourite charity, shop, hairdressers, hospital or friend.

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