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STELLA MCCARTNEY- CREATIVE COORDINATOR

Ability to juggle multiple tasks with ease

Excellent written and verbal communication skills

Great attention to detail

A creative problem solver

Ideally have experience in administration and a small but busy creative environment

Passion for production and a strong understanding of the creative process

Excellent organisational and time management skills with the ability to multitask and prioritise in a fast-paced environment

Detail-oriented mindset with a focus on accuracy and quality

Strong communication skills, both written and verbal, to effectively collaborate with cross-functional teams.

Proficient in project management tools and software for tracking and monitoring project progress.

Ability to adapt to changing priorities and work well under pressure to meet tight deadlines.

Self-motivated and proactive with a can-do attitude and a willingness to learn.

Ability to build relationships and work effectively in a team-oriented environment.

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Through this task, I have gained higher levels of self-awareness due to deeply considering what my talents are, my personality type, how I work best and what motivates me. I have come to realise that I am both left and right sided of my brain. I am analytical, yet creative and I am able to harness my creativity in order to problem-solve, and utilise my solution-based thinking. Looking at roles I have realised I would love a career in which I could help other departments work with creative. As I am also organised and logical, I feel the project manger and coordinator roles suit me well, and due to my years of working within a team I have gained a few of the skills needed for this already. I am excited to gain more of the skills needed for these roles once I enter industry, to ensure that I can gain a position like these that I would thrive best in.

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These resources are ones I feel will assist me in order to think with wider perspective, and become more business-minded. Shoe Dog is a book I have already read, and plan to re-read, as it holds so many valuable lessons

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Attending networking and industry events to further my knowledge, alongside LinkedIn learning courses in order to support my skills. I have already completed the Inside LVMH 2023 certificate and intend to enter the Pitch for CIM within this unit in order to gain a professional marketing qualification.

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Creative Coordinator at Stella McCartney in London | Vogue Business Talent

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Apply now at Vogue Business Talent for the Creative Coordinator role at Stella McCartney in London

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Dyson hiring Project Manager - GB&I Creative Hub in Bristol, England, United Kingdom | LinkedIn

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Posted 12:54:34 PM. About UsDyson is growing fast and our ambition is huge - more categories, more locations and more...See this and similar jobs on LinkedIn.

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DYSON- PROJECT MANAGER

Proven midweight project manager with a background in campaign traffic management and production agency experience.

Highly organized, with a strong proven capability to priorities, manage processes and solve complex problems with a solution orientated approach

A good eye for detail, able to ensure the management of campaign planning and projects

A positive, engaging and impactful communicator at all levels of a business with excellent negotiation and influencing skills to be able to “bring people with you”

Strong team player, with proven experience of bringing multiple stakeholders together.

An excellent communicator, collaborator, influencer, and stakeholder manager with an ability to influence at all levels.

Comfortable with complexity, ambiguity, and change.

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The industry is being transformed by Gen Z's enthusiasm for and its approach to beauty. Engaged in the category from a young age, the digitally native demographic has a different appreciation for products and ingredients. Why isn't there a single definition of Gen Z beauty? And how can brands respond more proactively? Join Vogue Business and Amazon Beauty on 10 October for an evening of cocktails and conversation around this question and more.
When and where is it?
The event takes place in New York on Tuesday, 10 October, 6pm-8.30pm. The venue location will be provided when you receive your registration confirmation email.
How can I attend?
A limited number of tickets will be available to Vogue Business Members via a ticket drop on Thursday, 28 September, at 11am ET. Members can register here. Places will be allocated on a first-come, first-served basis. Not a Member yet? Become a Member today.
I am already a Member, am I guaranteed a spot?
If you would like to attend this event, please make a note of the ticket drop date on your calendar. Places will be allocated on a first-come, first-served basis. Unfortunately, due to limited venue capacity we can only admit Members and Advanced Members with event tickets.
What if I don't get a ticket?
We understand that at times, due to venue limitations, securing tickets might be a challenge. However, beyond this evening reception, we have lots of other exciting events lined up for you to explore and attend. To stay in the loop, keep an eye on your email for event updates.
Can I bring a plus-one?
Unfortunately, due to limited venue capacity, no additional guests will be admitted to this event and tickets will not be available on the door.
Can I purchase a membership at the event?
No, unfortunately, it will not be possible to purchase a membership at the event.

To receive the Vogue Business newsletter, sign up here.

Comments, questions or feedback? Email us at feedback@voguebusiness.com.

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Vogue Business in partnership with Thélios

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Answering your questions about our upcoming event.

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We are simplifying beauty. We're committed to creating products and a community that inspire you to be your most confident self.

You'll be part of a team that leads with authenticity and is empowered to shape the way we operate, creating an environment that reflects our shared values and aspirations.

We're always vegan, cruelty and fragrance free and proud to be Leaping Bunny certified. Join us on an exciting journey to cut through an overwhelming market and create products and world-first formulas, that give our customers what they need and want simplified.

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Join REFY in Marketing, Manchester as a Brand & PR Intern

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REFY- BRAND AND PR INTERN

An interest in Brand & PR

Strong administrative experience

Highly organised and strong attention to detail

Experience with Excel & Powerpoint

Proactive and solution based

Always willing to help!

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STELLA MCCARTNEY- CREATIVE COORDINATOR

Ensure workflow liaison

Collaborate closely with the Creative team, with tact and diplomacy to keep the work flowing between project teams

Support the Head of Creative Services with scheduling of creative reviews

Organise daily priorities related to key milestones and projects.

Assist in day-to-day activities, including (but not exclusively), being a runner, organising team meetings, co-ordination of materials for executive decks etc.

Managing the administration for the Creative team.

Supporting the logistics and operations of the Creative team – such as liaising with IT and the organisation of space with the workplace experience team.

Collaborate with the production team to create project schedules, identify milestones, and track progress to ensure timely completion.

Act as a liaison between the creative team and other departments, facilitating effective communication and managing expectations.

Maintain an organised system for project files, assets, and documentation, ensuring accessibility and ease of use for the team.

Contribute to the creative process by conducting research, and providing feedback to help refine project concepts.

Monitor project budgets, track expenses, and assist in negotiating vendor contracts, ensuring cost-effective solutions.

Stay updated on industry trends, emerging technologies, and best practices to enhance the overall quality of creative deliverables.

Proactively identify potential roadblocks or challenges and propose innovative solutions to keep projects on track.

Foster a positive and collaborative team environment by promoting open communication, sharing knowledge, and supporting team members.

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DYSON- PROJECT MANAGER

Provide end to end management of projects and briefs, supported with detailed timelines, costs and spec.

Create a clear briefing and prioritization process, aligning key stakeholders across multiple functions.

Partnering with COE to identify planning and project management platforms and technology that will provide efficiencies in communication of brief delivery.

Management and responsibility of seeking approval of campaign assets from relevant teams incl. retail, legal and category across group, regional and local teams.

Partnering with the media team to ensure content is uploaded on time and spec for the media agency’s SLAs.

Ownership of project tracker unlocking relevant systems and tools to enable speedier delivery of business requirements.

Risk and issue management, proactive identification of potential problems with a solution orientated approach.Partnering with Creative Head to scope project requirements and identification of required creative and production requirements across internal and external resources.

Partner with Marketing Director and Creative Head to forward forecast resource, budget and agency requirements for annual planning and long term strategy setting.

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REFY- BRAND AND PR INTERN

Supporting the Brand & PR team on daily tasks

Email outreach and confidence to speak on the phone

Assisting with event planning and project management

Build a relationship with PR & partner agencies

Fulfil general admin & adhoc tasks

Creative deck creation

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Excellent communicative and collaborative skills

Organised and forward-thinking

Solution and creative based thinking

Adobe creative skills: including Photoshop, Illustrator

Attention to detail

Business minded

Years of experience within fast-paced environments

Good written and verbal communication

Proactive and motivated individual

Confident, friendly, positive

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Small Business Marketing Online Class | LinkedIn Learning, formerly Lynda.com

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Achieve outsized growth on a modest budget. Learn what every small business owner needs to know about marketing their product or service.

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Artistic vs. creative - Creativity: Generate Ideas in Greater Quantity and Quality Video Tutorial | LinkedIn Learning, formerly Lynda.com

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Behavioral changes require self-control, and research has shown that self-control is actually an exhaustable resource. In this video, learn how to recognize the six main obstacles to your creative growth, starting with the conflict between artistry and creativity.

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The author has shared a Podcast. You will need to accept and consent to the use of cookies and similar technologies by our third-party partners (including: YouTube, Instagram or Twitter), in order to view embedded content in this article and others you may visit in future. Accept

Background:

Darnell Strom's professional path has wound its way from politics to Hollywood, a trajectory that started with several globe-trotting years working for former US President Bill Clinton. As partner and head of culture and leadership at entertainment agency UTA today Strom represents totemic cultural figures including Nobel Peace Prize laureate Malala Yousafzai and Edward Enninful, the outgoing editor-in-chief of British Vogue, as well as Gisele Bundchen and Michaela Cole. The breadth of his client roster reflects Strom's thesis that captivating, culturally impactful people can come from anywhere.

"My definition of talent isn't just an actor, a musician and an athlete," he says. "It's also a well-known politician or an incredible activist or a rock star CEO or someone in fashion, an artist ... I want to be able to represent all those people."

This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Strom to discuss what his career has taught him about the power of creativity and cultural convergence - and the opportunities this is creating for top talents.

Key Insights:

It was a conversation with the late fashion designer Virgil Abloh that inspired Strom to think differently about his work as an agent and seek out clients from all types of industries. He recalls Abloh telling him: "You should be representing people like me, people who are multi-hyphenate, people who understand that there are no walls between these worlds of culture."

Strom believes social media has irrevocably democratised the entertainment industry, making it possible for even an aspiring filmmaker from anywhere to create a blockbuster movie or a fashion trend that stems from a single post. "As you look at the marketplace, both in fashion and entertainment and media, everything is moving at such a fast rate. And if you're doing the job the same way you did 10 years ago, you're going to get left behind," he says.

Strom believes the changes we are seeing is just the start of a bigger journey. "I think the future of culture is convergence, which we're seeing now. But I think it's just the beginning of it. I think the next 10 years are going to be fascinating," says Strom.

Additional Resources:

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The BoF Podcast | Why Fashion, Media and Entertainment Are Converging

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Darnell Strom speaks with BoF founder and editor-in-chief Imran Amed about the future of cultural industries and why they are becoming more interconnected than ever before.

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Pharell is a creative that inspires my work as his personality and talents are so multi-faceted. His ability to have so many visions in different creatives and bring them all together is admirable. His work with Louis Vuitton is an inspiring reminder that my career is not determined, and many creative businesses overlap- Pharell is a prime example of harnessing your skills in a way in which you can enter different industries, and be successful within all of them

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Truth Revealed Itself: Pharrell Williams

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For our issue 18 cover story, Pharrell unpacks the God word.

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In terms of navigating a changing industry, Grace Beverley is someone I look to for guidance and inspiration. She is a formidable businesswoman that acknowledges gaps and utilises issues within industry/garments in order to cleverly market and make sales. Her sustainably-led womenswear brand Tala has set many lessons in industry. Her marketing is personal, authentic and relatable and by addressing/solving many of the issues she finds with garments she has made millions of sales. She also addresses sustainable fabrics, claiming her brand is not 100% sustainable, but is as ethical/sustainable as possible whilst maintaining amazing quality and an affordable price for her consumers. She is also founder of health brand Shreddy and has her own podcast.

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Activewear brand Tala may have started out as an influencer label. But founder Grace Beverley was keen to break the mould with product innovation, responsible materials and, more recently, size inclusivity.

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Last Thursday, entrepreneur and influencer Grace Beverley's London-based activewear label Tala launched its third outerwear drop on its website. An hour later, Beverley posted a screenshot to her Instagram feed: the puffer jackets, retailing up to £199, had hit £1 million in sales.

Beverley launched Tala in 2019, when she was aged 22 and making her name as a fitness influencer under the handle @GracefitUK. She had already founded online fitness platform Shreddy (where she remains CEO).

Originally launched as a licensed brand with a manufacturing partner, Tala did £6 million in sales in its first year. However, for Beverley, the real launch of the brand was April 2021, when she severed ties with the initial licenser and manufacturing partner, known for launching influencer-led labels, and struck out on her own. "I haven't talked about this much because at the time it was sensitive," Beverley says, speaking from a meeting room in her central London headquarters, "but having to rip it all down and start from scratch in order to build a brand with [longevity] was incredibly hard, it was incredibly expensive and incredibly tough emotionally. It required a huge amount of conviction."

The previous partners wanted Tala to be an influencer brand, focused solely on driving sales via Beverley's own Instagram and creating viral drops or heavily branded merchandise. Beverley was keen to invest in product innovation and build a business to last. "Being an influencer merch brand is fine and it has its value. But capping the brand's growth at myself and my own reach, where being an influencer actually isn't even what I want to do, wasn't what I wanted for my future or for the brand," she says.

Beverley already had a devoted consumer base, but without partners, she needed internal and financial support to rebuild her brand, which she was self-funding in the interim. She appointed Morgan Fowles as managing director of Tala in May 2021, to help her find investment, bolster the teams and set up a whole new manufacturing network. Previously COO of direct-to-consumer menswear label Spoke, Fowles has held product and merchandising roles across fashion, from PVH to LVMH. This year, Fowles was named CEO, while Beverley holds the founder title. The brand declined to share exact revenues, but sales were in eight figures for 2023, up 100 per cent from 2022.

Tala went into its first fundraise in 2021 with "little to no infrastructure", Fowles says. But its consumer base was enough for investors, who saw the potential in the brand's vision for ethically sourced activewear with mass appeal. Tala raised £4.2 million in February 2022, led by Active Ventures and Venrex. "No one had done more ethically sourced [athletic wear] anywhere near an affordable price point," Beverley believes. "And no one wanted to because they looked at the margins and they were like, 'Woah! We could sell it for 2.5 times the price.'"

Tala specialises in activewear and athleisure made with recycled or upcycled materials, including Tencel or organic cotton. Its offering includes its Formtech leggings, made from 75 per cent pre-consumer recycled materials, like factory offcuts. Its sculpt seamless activewear collection is made with recycled post-consumer waste such as fishing nets or plastic bottles. Pieces are priced from around £30 for tops to £199 for a full-length coat.

"Tala is one of the few brands bringing luxury and quality to the Gen Z and millennial customer at an accessible price point," says Sasha Trower, partner at Tala investor Venrex. "The team is laser focused on the value equation of their products and I think this is one of the things that resonates so well with their audience. The sky's the limit."

Instead of competing with premium players like Lululemon or Alo Yoga, Beverley and Fowles were keen to take on the mass market with product innovation to improve comfort and fit and design entirely with women in mind. It's a hot segment today: from Nike and Adidas to challenger brands like Lululemon, sportswear labels have invested in women-focused design and marketing over the last year. Beverley is keen to point out that unlike a lot of major labels, Tala isn't just made for women, but also women-run. The brand is 71 per cent women-owned, 75 per cent of board seats are held by women and 75 per cent of leadership positions are held by women. "That's probably why we get the product so right again and again, because we will sit there and we will argue about a gusset for literally an hour."

Following the investment, Beverley and Fowles scaled the team from nine to 40 people, bolstering every team from marketing to design. Tala went from a product roadmap of two activewear fabrics and sweats, to five recycled and upcycled activewear fabrics, a new "second-skin" athleisure line, swimwear, resort wear and outerwear. Hardly any of the pieces were heavily branded, moving away from the "merch brand" model.

Reconciling responsibility with driving consumption

When Tala started out, it was pitched as an ethical activewear label, with sustainability centred in brand communications and marketing. Fifty per cent of Tala's customers each week are returning customers. That's positive business-wise, but for a label that pitches itself in the ethical fashion space, that's a lot of consumption. Tala might work with majority upcycled and recycled materials, but when you're still pushing product, it's hard to say you're sustainable, Beverley concedes. "We've moved away from that messaging." Tala's responsibility page explains that it's not a sustainable brand, but a more responsible choice than competitors in the same price bracket.

"Starting a fashion brand is not sustainable, and I will always, always own that. I will always say sustainable fashion is an oxymoron," Beverley says. "Consumption is always at odds with sustainability. However, we know that our customers, with all the convenience in the world available to them, with all of their best intentions, are not going to stop consuming activewear. You have to create solutions at a mass market level that are better, not perfect, in order to be able to create change." She adds that her laser focus on product, quality and fit is to ensure the garments are preferred to fast fashion equivalents.

Producing activewear sustainably is extremely difficult, because performance fabrics have always required synthetic fibres to provide adequate stretch, temperature control and sweat wicking. Like all synthetic clothing, synthetic activewear fibres shed microplastics into the water supply when washed. And, even upcycled and recycled activewear like that used by Tala, though it uses less natural resources, still emits microplastics like regular synthetic garments, which the company explains on its responsibility page.

Tala does encourage use of microplastic catching guppy bags on its social media, which customers can use to prevent fibres getting into the water supply. And Beverley notes that when Tala doesn't have to use performance fabrics, it has used biodegradable wood pulp textile Tencel or organic cotton.

Some labels are experimenting with non-synthetic performance wear. Mara Hoffman released a swimsuit made from dissolved wood pulp last year, while last month, Sail racing league SailGP partnered with plastic-free apparel startup Mover to create technical sportswear made from 100 per cent natural fibres. However, it took two years to develop the six piece collection, which might not work for brands at scale like Tala. Tala is keen to keep experimenting with new textile options looking ahead, as they become available at scale.

Social drives scale but product comes first

Beverley doesn't want to be categorised as an influencer brand, but social media is still a huge revenue driver for Tala, across the label's own channels and Beverley's accounts. The brand has also invested in performance (paid) marketing to reach new audiences this year, particularly on TikTok. Tala's TikTok has almost 60,000 followers and over 700,000 likes.

The tone of the content across both pages is focused on how Tala products look, feel and perform. "When I talk on social media about Tala, I do it as if I'm talking to a friend. Rather than saying, new, new, new, we say, here's a seam, here's a cuff, this is cut this way to give comfort around the stomach," Beverley says. "The reason we have so many things to tell them is because our market strategy starts from the solutions we provide with product." This method aligns with the hauls and unboxings trending on TikTok, as young people do more research than ever before they purchase fashion, to better understand the product quality and fit. Beverley also avidly reads Tala reviews, social media comments and messages from the consumer base, to learn how products are received. And, she says Tala won't rerun a product if it's had negative reviews, without making adjustments based on feedback.

Beverley is used to taking feedback. As a prominent figure and a female entrepreneur on social media, the young founder has been met with a lot of scrutiny online. Just this week after the successful outerwear launch, the founder was criticised by one TikTok user for not tagging #ad on her posts wearing the pieces before the sale. The posts received thousands of comments and likes. Tala declined to comment on the accusations but Beverley responded to the video directly on TikTok saying she'd sought advice from regulators on this issue.

Having Fowles on hand helps Beverley weather the storms. "What I've been told from a lot of founders is the hardest thing is finding someone who is able to join you in the journey," Beverley says. "We have been through hell and back and even from a very early stage together and to be able to have that and not want to kill each other is pretty impressive," she says.

Looking ahead, Tala remains focused on its UK business, but Beverley says the brand is steadily growing in the US and Europe without any marketing spend, after the company made shipping and logistics easier this year. "I think we're at another inflection point, based on the numbers we're looking at," Beverley says.

To broaden its mass market appeal, Tala launched plus sizes up to 4XL in February this year, after planning the collection for almost two years and holding several focus groups with groups of 20 plus-size women, to understand their needs. It promised that roughly three-quarters of all new styles and colours would be available in extended sizing within the following six months. The brand explained that it couldn't launch plus sizes across 100 per cent of products just yet, as it gradually scales fits and finds new machines to make its seamless garments in bigger sizes, for example.

"Since we started the business, not having plus size has been a niggle of mine," says Beverley. "We'd said we were providing recycled activewear to more people by taking it to the mass market, but without doing plus size, we were excluding half the population," says Beverley. (The average size in the UK is 16, equivalent to US 12.) And, when it comes to activewear, plus-size customers have typically only had fast fashion to choose from, apart from smaller capsules by major players. Tala gradually is launching plus across its ranges to understand demand, trying to avoid overstock and testing how popular certain styles, shapes or colours are with this audience.

Tala will continue to invest in new categories and product innovations to scale the business. "Activewear is hard to get repeat purchases on because most people come to your site to buy black leggings. But, if you're buying back into new categories like trousers or swimwear because of how good those leggings are - that's the space we want to get into," Beverley says. "I want people to always think of Tala and I think hopefully in the next few years, they will."

Key takeaway: Grace Beverley first launched Tala with a licensing and manufacturing partner, which was keen to leverage her influencer status to build a social-media driven merch brand. Beverley wanted to build a more responsible activewear and athleisure business to last, focused on design innovation, so she took the leap to strike out on her own. After a challenging first year securing funding and building a team, she's now built a label with an avenue for growth.

Comments, questions or feedback? Email us at feedback@voguebusiness.com.
More on this topic: Plastic-free technical sportswear is here. What's next? Lululemon CEO unpacks plan to hit $12.5 billion in revenue by 2026 Gymshark CEO on building an athleisure unicorn

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Vogue Business in partnership with UK Department for Business and Trade

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Grace Beverley's Tala is growing up. Just don't call it an influencer brand

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Grace Beverley's activewear brand Tala may have started out as an influencer label. But the founder was keen to break the mould with product innovation, responsible materials and, more recently, size inclusivity.

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For roles that I am interested in, I need to gain experience and skills within negotiation, traffic management and task priority. Many of the skills listed within the job specs I feel I have gained while at University and during my part-time work

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In order to enhance my strengths, I could do LinkedIn learning courses on Excel, creativity and sustainability as well as reading more for industry insights.

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As part of my reflection on this unit, I will be using the Gibbs Reflective Cycle. Gibbs' Reflective Cycle, formulated by Graham Gibbs in 1988, provides a systematic approach to learning from experiences by offering a structured framework. (Gibbs, 1998) Designed to analyse and assess experiences, this framework facilitates the process of learning and planning from both successful and unsuccessful experiences, encouraging a continuous cycle of improvement and reflection. It covers 6 stages: Description, Feelings, Analysis Conclusion and Action (University of Edinburgh, 2023).

This project involved a Marketing Consultancy project in which I collaborated with two new team members. Together, we took on the task of creating a marketing plan for EveryYouth, a charity supporting homeless youth. Recognizing the unique challenge of working with a non-profit, I highlighted the potential for valuable learning experiences and compelling interview discussions. Choosing the EveryYouth brief also came with the added benefit of earning a Professional Marketing qualification from the Chartered Institute of Marketing (CIM), enhancing the significance of our project.

In the initial stages of brainstorming and strategizing for the charity, our collaborative efforts were seamless, and we shared similar thought processes, fostering optimism for an effective and innovative plan. Initially, each team member had an equal say, and our strategy took shape cohesively and swiftly. Communication flowed well beyond university hours. However, as we progressed, I noticed a shift. While I remained proactive, pushing for more work to be completed and thinking ahead to optimize our time, it seemed my teammates lacked a sense of urgency. This made me feel I needed to raise concerns about achieving our full potential. I felt as we all have part-time work it was difficult to find a time that we were all available, so decided not to raise any concerns. In the later stages, one teammate recognized the need for substantial progress before the Christmas break, acknowledging the impact of impending assignments. Unfortunately, another team member prioritized a different assignment, missing several meetings, leading to an uneven distribution of the workload. This imbalance made collaboration more challenging, but I felt confident in addressing tasks independently and managing the situation effectively.

Reflecting on the project, I believe my suggestion to implement a week-by-week planning approach could have been instrumental in alleviating stress and ensuring substantial progress by December. I recognize that I could have been more assertive in advocating for this method. The absence of a well-structured plan led to heightened concern for me and the more collaborative teammate. We both shared concerns about the lack of progress and now the temporary loss of another team member. Had we embraced a detailed weekly plan for each section, we might have mitigated stress and accomplished more in order to go the extra mile for this assignment. This proactive method could have spared us the pressure of multiple assignments converging around the same deadlines, enabling us to achieve full potential.

In conclusion, next time I would devise a plan from the start, with definite times of meetings and what we aim to achieve within these sessions. I have also concluded within this reflection that I did not feel as confident in addressing issues with other team members as I thought I would be. I recognise now that I was focusing more on my group’s personal circumstances and being understanding of this, rather than focusing on getting work done. Going forward in industry, I feel I will now be more honest and open about how we are collaborating, and voice concerns straight away, as I feel my inability to do so meant other teammates did not contribute as they should have.

Gibbs, G, (1998), learning by doing: A Guide to Teaching and Learning Methods, Oxford: Further Education Unit

https://www.ed.ac.uk/reflection/reflectors-toolkit/reflecting-on-experience/gibbs-reflective-cycle