Salina Thind is a London based make-up artist and hairstylist responsible for royal up-dos (Duchess of York, Princess Beatrice) and glam editorials (Vogue India, Conde Nast Brides).

Who would you love to get 'camera ready'?

I'd love to work with one of the 'original supermodels', like Cindy Crawford perhaps. I'd love to hear all her stories and find out what the industry was like back then.

What makeup look will you always remember?

This probably isn't as cool as it should be... As a teenager, I was obsessed with the Guess advertising campaigns. The make-up was always glam Sophia Loren vibes—now I'd love to put my own spin on them!

How do you want to be remembered within the industry?

I want to be remembered for enhancing natural beauty, rather than masking a face. I hope to be synonymous with timeless beauty and beautiful, clear skin.

We asked Salina to share her 'bucket list concept'—the creative vision that she hopes to one day bring to life...

Beauty Beyond Bollywood

I spent a few months based in Mumbai in 2015/2016, during which time I got to work with a real mix of people. On one shoot, I worked with a model from Nagaland—a state in Northeast India. Meeting her made me reflect on how we are usually only sold a very one-dimensional view of the Indian aesthetic. But in reality, India is home to such a range of skin tones, features etc.—it is so much more than just Bollywood! I'd love to shoot a story where the models reflect all of India's different regions and communities and the diversity of beauty within them.

I would shoot all over India. With such a vast array of landscapes and backdrops at my disposal, the possibilities would be endless: beaches, mountains, palaces, crazy cityscapes...

Follow Salina's work and commitment to diversifying the beauty industry on her Instagram or check out her website.

Sylvester Yiu is a fashion stylist, creative director and consultant. Working between London and LA, Sylvester's knack for evocative storytelling has earned him work with clients such as i-D magazine and Louis Vuitton.

Meet Sylvester Yiu

In what unusual places do you find inspiration?

I am very inspired by music and theatre. I travel regularly between London and LA and they both have very different music scenes, but that's the beauty of music. One second I feel like classical and the next I feel like K-pop—representing these ideas in a visual (styling) way is always interesting to me.

You can work with one designer and one of their collections, who are you picking?

Marc Jacobs, hands down. I would love to style his Louis Vuitton SS2008 collection. It is my absolute favourite collection to date. It was the first time I visually saw how 'art' and 'fashion' can truly work together—from the artist's mind to the designer's approach to clothing, colour, silhouettes, etc.

Who is your dream client?

If I could style one person, I’d pick Pennywise. He’s fascinating because, out of everything he found on earth, he decided to be a clown!

How do you want your work to be remembered?

Of course, whatever I do in the present is driven by what is currently in fashion but I hope I can look back at my work after a few years (which I actually do) and still think it works!

We asked Sylvester to share his 'bucket list concept'—the creative vision that he hopes to one day bring to life...

Namesake

One day I walked past 'Sylvester Street' in London and I thought, 'Wouldn't it be cool to have a full editorial of models being shot at their namesake streets/roads?' This could take place all over the world! Foreign names, on foreign streets in foreign languages—it would be a long process to cast and organise locations etc. but how cool would that be!?

Dictionary definition of this concept: one that is excessively self-absorbed.

In 2020, a group of internet friends launched an event on X, formerly known as Twitter, as an attempt to unite and inspire their online community through the difficulties of the pandemic. Armed with just a “very active WhatsApp chat" and a simple aim of “democratising the fashion industry” they created the High Fashion Twitter Met Gala (HFTMG)—an inclusive digital alternative to one of the biggest events in the fashion calendar.

The event quickly gathered international participation and ignited a flurry of global press, who were keen to find out why exactly the fashion industry was falling so short in progressiveness and inclusion when a Twitter community had seemingly solved the problem from their bedrooms. Now, two years on, we speak to the creators of the event to understand how an event born out of a community is now nurturing a new frontier of fashion enthusiasts holding the industry to account.

Re-imagining the Met Gala

The success of the High Fashion Twitter Met Gala is a phenomenon grounded in community. In every industry the pandemic made people re-evaluate the importance of community and their place within it. For the High Fashion Twitter (hftwt) community, it allowed them to reimagine what they each could contribute to the fashion industry as a whole if they focused their attention on spotlighting themselves rather than already celebrated ‘names’ in the industry. The HFTMG was a manifestation of the perspective shift rippling through the community at the time.

The entirely digital event runs as a companion to fashion’s most famed night by the same name—inviting participants to join in the fun of the Met Gala by expressing their interpretation of the prescribed theme in a variety of accessible virtual mediums. The organisers wanted to empower the hftwt community and celebrate the voices within it that make up the new generation of fashion. But above all the idea to host a virtual Met Gala was really "just for fun” in an attempt to ease the community's mid-lockdown blues. The founding members leveraged their existing presence in the community—high followings and a reputation for being vocal in industry discussions—to draw attention to their newly curated event. But they were still overwhelmed by the interest the event garnered from all corners of the hftwt community. There are very distinct subcultures within the overarching HF community on Twitter, from anti-fashion to archivists and deconstructionists. But the HFTMG acts as a uniting moment for all the HF Twitter factions, allowing members of the community, especially those unfamiliar with one another, to establish connections by crossing the chasm. The result embodies everything the organisers love about the event, "It's so interesting to see all these different perspectives and interests collide."

Utilising their platform

Of course, the novelty of the first HFTMG in 2020 and the huge influx of attention from pop-culture magazines like Dazed and i-D were very exciting for all involved. But the team endeavoured to find ways to preserve their enthusiasm for the event beyond public praise and celebrity status. So, in the absence of the 2021 Met Gala the following year, the organisers "took creative liberty" and decided to design their own theme driven by the industry change they wanted to see reflected in the event. And, building on that momentum, this year's HFTMG themed 'In the Americas' was the "most politically driven yet". Whilst the IRL Met Gala red carpet was awash with gilded glamour, fashion creatives attending the HFTMG set about reclaiming the definition of 'American'. The organisers explain, "We're challenging The Met's use of America as an isolating term—it excludes the whole Pan-American continent and just focuses on the United States. America is a continent, not a country."

In the last 3 decades, the Met Gala has gradually evolved from a humble charitable event to a celebrity extravaganza. This year, perhaps more than ever, the event has come under scrutiny for flaunting lavish exclusivity whilst the general population are crumbling under rising costs of living. But hftwt's DIY alternative is challenging that narrative with a focus on accessibility and inclusivity—giving creatives a chance to proudly embrace and explore their diverse heritage as part of the 'American' lexicon. One approach to inclusivity is the 'Brand Challenge'. Participants signed up to the challenge are randomly assigned a brand (this year that list included Phillip Lim and Tom Ford) and must create an outfit made purely from their designs. "Our brand challenges are designed to uplift designers and creatives that are overlooked by the main event. We want to spotlight all the designers who are just as qualified but don't get the same screen time."

This approach is grounded in education, the antithesis of the frivolous celeb culture we now see paraded at the Met Gala. It seeks to challenge a community of fashion enthusiasts to dig deeper, understand the historical and modern significance of dress (pertaining to the theme) and celebrate those previously overshadowed in the industry. Though the Brand Challenge is designed to push the community to try new things, the other participation categories were derived from an analysis of the community's existing behaviour. The organisers saw first-hand that the community were already using moodboards and illustration to express themselves creatively and so they just had to find a way to direct these expressions into a common agenda, i.e., their virtual Met Gala. This resulted in the formation of four categories for HFTMG attendees to participate in:

• The aforementioned 'Brand Challenge'
• Photoset Creation. Creating a mood board that encapsulates your interpretation of the yearly theme.
• Wardrobe Styling. Creating an outfit that encapsulates this year's theme, using items already found in your wardrobe—no shopping allowed! A focus on sustainability and creative re-working.
• Illustration Expression. Designing or sketching your own look, or sketching the existing work of another designer.

Inclusivity is key across all categories. The digital nature of the event allows people to participate without incurring the costs of buying garments, fabrics or even tickets ($35,000 to be precise). It also alleviates waste production, the unsustainable by-product often associated with one-time fashion splurges.

Mobilising the community

Despite the continued success of the HFTMG, challenging the status quo of the industry cannot be done with just one annual event. Therefore, the team have been looking at ways to harvest the talent and passion of their community year-round. Furthering community engagement is also done in the hopes of preserving the future of the event. As much as the organisers wish they could be involved forever, they are aware that ultimately their careers will take priority. And so, in the interest of preservation, the team are attempting to find ways to pass this tradition forward—in the hopes that it will continue to foster a sense of togetherness within the community for years to come.

Part of that strategy was an open invitation to their community, to brainstorm and write collaborative threads for the event's official Twitter page. The result was a bank of informed, passionate content that aligned with their commitment to amplifying a diverse range of voices. Of course, given this year's theme, the narrative centred around dispelling misrepresentations of Latin America in mainstream media and highlighting influential names in fashion across the entirety of the Americas. Centring the hftwt community's discourse on critical commentary surrounding fashion and culture is a calculated approach. The organisers are aware that Twitter is often overlooked by industry insiders in favour of Instagram, but they still believe Twitter is the platform best suited for their mission because, "unlike Instagram or TikTok which put imagery before commentary, Twitter values both." This means fashion enthusiasts who are disillusioned with the superficiality of Instagram and unable to thrive in its visually-biased environment may find that Twitter’s conversation-centric infrastructure suits their needs better—allowing an opportunity for thoughtful, insightful learning uninhibited by aesthetic appeal.

Another advantage to Twitter is that it lends itself to anonymity. Many of the hftwt community run their accounts anonymously and the organisers endeavour to respect this privacy and ensure it never becomes a limiting factor to participation. The team are operating on the theory that ‘if you build it, they will come’—by pioneering these conversations themselves they hope to attract more like-minded individuals to the community and slowly facilitate the establishment of High Fashion Twitter as a reputable and respected place for industry discourse.

What happens next?

After more than 300 #HFMetGala2022 tweets and 400 famous faces on the IRL red carpet, 'fashion's biggest night' is wrapped up for another year. But the work for the organisers does not stop here. The team will now return to working on a reflection of the Met Gala 2021, to be published as an openly available e-book titled 'Faces in the Mirror'. Their previous e-book, a summary of learnings from the first High Fashion Met Gala in 2020, titled 'Temporal conflation', can be found here. The educational e-book is just another example of the team's commitment to empowering the community that birthed the event. For all of the team, their 'seat on the board' has never been motivated by a desire for self-promotion and this selfless attitude is undoubtedly key to the event's longevity. The team simply see themselves as a launchpad for the community's success, they are providing the wheel with which the community can steer.

From our talk, it was clear that the future of the High Fashion Twitter Met Gala is dependent on the community's commitment to its upkeep. Will that be in the form of a new wave of committee personnel? It's hard to say. But even in the absence of a coordinating team, the tradition itself will remain. That is not to discredit the work of the committee thus far; their hard work, eloquence and foresight have been instrumental in the HFTMG's success. The work done to empower and educate the high fashion community will have long-lasting implications and we imagine that on the first Monday of each May, the High Fashion Twitter community will, of their own accord, offer up an innovative, thoughtful, thematically comprehensive (no shade to the real Met Gala...) display of talent. And what a beautiful legacy that is. The High Fashion Twitter Met Gala serves as a reassuring reminder that grassroots initiatives and passionate creative communities will always be there to hold the fashion industry to account—although we live in the hope that one day, they'll no longer have to.

We all procrastinate. Whether it's incessantly checking our emails to put off an upcoming deadline, or getting lost in social media whilst conducting research, procrastination affects us all. Sometimes, it can't be helped. Sometimes, it becomes a problem.

When we're habitually procrastinating, delaying and putting off tasks, it can be a tough cycle to break. Working from home has been a blessing in many ways, but—for creatives especially—it's had some serious downsides. The lack of in-office chat and idea-bouncing can have a negative impact on our creativity—and, sometimes, motivation can be hard to find at home. More than ever, we're disconnected from each other—the feeling of being alone can drain our motivation, and, sometimes, leave us feeling lost.

Working collaboratively—or, at least, around others—is a brilliant way to not only make us more creative, but more productive, too. But how can we recreate that feeling when our co-workers aren't around to work with us?

Why we procrastinate

We don't always have to be productive—sometimes it's just not our day—but if it becomes habitual, we may feel the need to combat it. This is no mean feat. There isn't just one reason for procrastination—we might be feeling tired or burned out, uninspired, or we may be suffering from perfection-paralysis. One thing's for sure, though: we procrastinate less around others. Working in teams—or at least around other people—can leave us feeling inspired, invigorated and productive.

But why?

Why teamwork, works

We'll cut to the chase: accountability works. Working with others helps to keep us off our phones and stops our minds from wandering—if everyone else is working, we have to too! Whilst our natural fear of being the outsider (or, if you're more optimistic, our urge to 'do our part') is a big reason that group-working halts our procrastination—it's not the only reason.

In fact, there's a whole science dedicated to uncovering the 'flow state', and the ways in which we can enter it.

Comradery

Remember the warm, comforting feeling of sitting in contented silence with friends? How about the cold, rigid feeling of travelling alone on a bus? One of these is an ideal studying situation—and the other, not so much (though if it works for you, we won't judge!). Working in groups is conducive to comfort and warmth—it means that we're not alone in our quest for productivity, and, even if we're working on disparate things, it can create a sense of comradery. It's us against the world.

Laura Gao encapsulates this feeling perfectly: I love being around people. It just reminds me that I'm not tackling things by myself. Even if we were doing different things, it still feels like we, in a way, are on a team for a specific purpose.

Collaboration

How about the feeling of firing ideas around, one after the other, with your colleagues, feeling like you're on fire? Or the feeling of staring at a blank page for hours on end? Working in a team of course allows for collaboration—and, rather than having to fire off an email or open up a browser to answer a question, you have valuable resources at your fingertips. That means less time spent on admin and more creative conjuring. The ability to bounce ideas back and forth can't be overstated, and this, in turn, spurs inspiration and productivity!

Grounding

One of the biggest reasons for procrastination is feeling overwhelmed—we have so much to do that we don't know where to start, or worse, we feel like we have to do everything at once. This feeling can cause us to shut down and become overloaded.

Working with others keeps us grounded—it lets us see that, whilst they probably have just as much to do as we do, they're taking it slow, one step at a time. This can help us to relax, and help us to realise that we're all in the same boat. More than that, it can help us to talk about it! Sharing our stresses with others—and hearing theirs, in turn—shows that we're not the only ones struggling. Suddenly, that feeling of being overwhelmed dissipates.

Work together, from home

Thankfully, there are now multitudes of engaging, easy-to-access ways to work collaboratively—even whilst at home! From 'silent working' Twitter spaces to online group working sessions (complete with phone lock-boxes), here are our alternative, modern ways to combat procrastination through the power of community.

FLOWN

Best for those looking to work on their mindfulness

FLOWN's aim is to enable its users to enter the flow state and consistently perform deep work. Whilst it has a number of features (from 'Quests'—a ten-minute audio experience, designed to give users the chance to recharge and ready to focus again—to 'Breath and Body' techniques to help users control their breathing), its primary focus is on Flocks—virtual group working sessions that last from 1-2 hours.

Flocks are guided by one of FLOWN's 'expert facilitators', and there are five sessions each weekday—providing enough flexibility to, hopefully, benefit everyone.

FLOWN offers group working sessions for free users exclusively on Fridays. They offer a full version for $19.50 per month, giving users access to unlimited group working sessions and the full scope of their other features.

Flow Club

Best for those looking for a mid-range group option

Flow Club, similarly to FLOWN, offers virtual group co-working sessions. These sessions are led by an instructor—in the first five minutes, participants take turns setting their goals out loud, and then the silent work begins! All whilst a curated playlist, designed to inspire work and aid participants in entering the flow state, plays in the background.

Flow Club is currently offering a waitlist, which is free to sign up to.

Centered

Best for those looking for an accessible, easy to jump into option

Centered offers a range of tools to aid in entering the flow state, from a weekly 'streak' to keep track of how many days in a row participants have met their goals, to an AI "digital coach"—a bot that sends reminders, checks in on distractions (asking you which apps are distracting you, giving you an overview of any potential procrastination-causers), and even goes as far as muting one's notifications to increase focus.

Centered also, of course, offers group working sessions - though these are a little different. Centered's group working sessions don't involve video—instead, you have animated avatars representing the other participants. Centered offers a low-effort version of group working—a reminder that you're not alone, without the effort-intensity of joining a video call.

Centered's standard plan is completely free, and they offer a premium option for $6.67 per month.

‍Focusmate

Best for those looking for a little extra accountability

Taking a slightly different approach, Focusmate pairs users with an individual, rather than a group—your "accountability partner". Simply choose the time that you want to work, and you'll be automatically matched with a partner for a 20-50 minute session. This more intimate approach helps to ensure that you stay on track—even where you might be tempted to veer off the tracks in the more anonymous, casual group working settings.

Focusmate also has some pretty stringent rules—if you're late (or slacking off during your session!) your partner can report you, lowering your score and leading to your account potentially being frozen—providing an extra push for those who need it!

Focusmate is free for the first three sessions per week, and $5 per month for unlimited sessions.

Teamworking take-aways

Ultimately, we're all searching for ways to make connections. We're social creatures, and being around others (whether in reality or virtually) helps us to feel refreshed, inspired and productive. Accountability is a strong motivator, but it's not the only one—we don't have to feel forced to work. Instead, teamworking (or flow state) products help us to take control of our tasks. They help us to remain calm, and take our productivity into our hands—all with the help of our peers, and all whilst nurturing the human connection that we crave.

Fae Jagdon was settling into her new role as nurse manager when she realised she was far too stylish to spend her life in scrubs! Instead, Fae said an emotional goodbye to nursing and began pursuing a career as a personal stylist.

Fae experienced the psychological impact of dress firsthand which inspired her creation of a bespoke service, grounded in education and empowerment. Fae's clients are equipped with an understanding that whilst clothes can make you look good, their true power is in making you feel good. Fae recounts her personal awakening to the power of dress, shares her gratitude for her loved ones' support and explains why her personal style can be likened to a hearty helping of tiramisu...

The right pair of shoes

I believe my love for styling came from my dad, he would always ask me what shoes looked better for his outfit! At the time, I didn't realise how important that decision was but as I grew and began creating outfits myself, I realised there's definitely an art to dressing.

Don't want no scrubs

As I stepped into my role as a nurse manager, I started spending more time in scrubs and less time in my wardrobe. Over time, I lost my sense of style completely—I would struggle to create outfits, I'd spend hours going through item after item, and I'd feel insecure and unhappy with every outfit I made. So, I took it upon myself to rediscover my personal style and I felt completely transformed! My journey taught me why clothing matters. That's what inspired me to pursue a career in styling. I experienced the transformational power of dress firsthand and now I am passionate about guiding my clients through that same journey.

Breaking the news

My pivot into styling didn't come as much of a surprise. Even during my nursing career, I would use Instagram as a creative outlet to share outfit inspiration and collaborate with different brands. I would regularly give my friends style advice, so they already knew how passionate I was. My mum was a little apprehensive, as she didn't quite understand what the role of a stylist entailed, and she was also fearful of me leaving such a secure job. But my husband was very supportive of my decision, he always knew where my passions lay. As we were about to relocate to a different city, I naturally searched for nursing careers but it was my partner who encouraged me to take the leap and enrol in a styling course.

Moving on

I found leaving nursing very difficult, especially having just landed my role as a manager. I got emotional at the thought of all the years I spent studying and completing my Master's degree to achieve my goal as a nurse unit manager. It was scary to think that I was letting it all go. I was moving to a new city and starting a new career that I wasn't entirely sure was going to work out for me. Every day I felt like I was starting from scratch because, technically, I was. I was learning new skills and constantly pushing myself out of my comfort zone.

Back to school

Returning to studying was intimidating! I came from a completely different career and I was surrounded by so much talent and creativity, it was a challenge to re-engage the creative side of my brain that I had to suppress during my time as a nurse. But once I started, I knew that's where I belonged!

It also helped that there were many students in the same boat as me, switching careers at different ages. That made my experience very special and it meant I never felt as though I was playing catch up. I believe that there is no time limit to our journeys.

Lessons from the ward

One of the main skills I learned as a nurse, and as a manager, is communication. You have to be able to communicate well with patients, their families, and the multidisciplinary team. I believe open communication is key to providing a seamless client experience. Also, the importance of adapting to change! Every day and every client is different. But beyond that, nursing has fundamentally shaped who I am today. I love connecting with people on a deeper level and I am really driven by the desire to change peoples' lives. My experience as a nurse heightened my emotional awareness and empathetic nature, both of which I feel can really make a difference in a client's experience and their decision to work with you.

Words of wisdom

It takes more than just doing what you love to run a business. Throughout my journey, I've learnt how much is actually involved in setting up and maintaining a business: sales, marketing, branding, legalities, mindset and the list goes on! Also, that entrepreneurship is a continuous learning curve—I am almost always investing in myself and my business.

The process

During my style consultations, I dig deep into understanding my client at a core level—who they are, their beliefs, values, mindset, vision, and goals. I then help them discover their personal style through my 4-factor formula: exploring colour, lifestyle, body shape and personal taste. By combining these elements, we build a clear understanding of my client and how they can best present themselves through style. My service provides a mixture of personalisation and education. I'm very passionate about offering the most tailored experiences for my clients, ensuring they receive advice that is made specifically for them. I hope to educate and empower my clients, leaving them with an understanding of how to become the best version of themselves.

The power of dress

Your personal style is a reflection of who you are. The more sure you are of your style, the more you're able to express your most authentic self. There's also a psychological theory called "enclothed cognition" which explores the symbolic meaning of the clothes to the wearer and the physical experience of wearing them. This means your clothing can have a significant impact on how you feel, how you behave, your productivity levels, as well as how others perceive you.

Wardrobe staple

Right now, my favourite item in my wardrobe is my wedding dress. It isn't your traditional wedding gown, so I can definitely wear it again! I found it on Farfetch, two weeks before my wedding, and it's everything I imagined wearing on my special day. It has puff sleeves that are enough to make a statement without overpowering the entire look, beautiful lace detailing, a v-neck cut to achieve balance and flatter my frame, and pockets! Need I say more?

Sense(s) of style

My style would smell like cardamom and sandalwood, warm and understated, yet enough to leave an impression. It would probably taste like a tiramisu—classic and subtle, yet striking. And it would sound like classic jazz—no words, just pure melody.

Katie Porter spent 25 years relishing her role in media production, rubbing shoulders with royals and attending lavish promotional parties. However, the arrival of the pandemic put all of that on pause and within the silence, Katie finally had time to pay attention to her lingering desire to step into the fashion world.

Katie now runs her own personal style consultancy from her home in Essex, offering a bespoke service that aims to leave her clients "feeling happier and more assure of themselves" oh, and decidedly more colourful! Katie recalls her favourite memories of the media industry, explains why we should all consider making our wardrobes more colourful and appreciates how lucky she is to have an extremely stylish mother!

An unexpected catalyst

I went straight into the media industry after leaving university and was extremely happy in that exciting world for 25 years. Although I have always had a passion for fashion and a flair for helping others feel good about themselves, I probably wouldn’t have jumped ship had it not been for Covid. The big events stopped overnight and, as it did for so many people, my life completely changed. I realised that this was my opportunity to explore styling, an interest that had always been niggling away at the back of my mind.

Returning to the mothership

I am very decisive. I had pretty much made my mind up about leaving media to pursue personal styling before I told anyone else! When I did reveal my intentions, everyone was very supportive but not in the least bit surprised—knowing my love for clothes & style. I'll quote the reaction from a friend of mine, "That's bloody brilliant… Must feel like returning to the mothership! Absolutely the right path for you.”

Fond memories

I often feel nostalgic about my life in the media industry—we worked hard and played hard! I have so many great memories: landing my first job in Soho Square, being involved with all the junkets for the latest film releases, sourcing outfits for the models for the Hello & OK commercials we produced and filming members of the royal family—this, in particular, has been such a privilege that few people experience and one which I will never forget.

Never say never

As I walked out of my final sociology exam at Kingston University I remember saying, “I’m never going back into education and being assessed ever again.” Yet, at 47, I found myself doing just that! My experience on campus at The London College of Style was such a joy from beginning to end, although I can’t deny the final assessment day was daunting but equally exhilarating.

To top it all off, I made some wonderful friends that I bonded with over the experience we went through together. I became fully qualified last year and I'm still so surprised by how much I am enjoying it! It’s probably exceeded my expectations and for anyone else considering personal styling, I can’t recommend it highly enough. I am so pleased I took the leap and pushed myself out of my comfort zone.

Avoiding comparison

Styling was a new venture for me but, strangely, I never felt like I was starting from scratch. I have always loved fashion and it felt like a natural progression after years of advising friends and family on clothes and style. I think most people changing careers later in life are conscious of having to play ‘catch up’, as there will always be someone further ahead in the industry than you. I simply try to concentrate on myself and make sure that I am happy with what I am doing and where I am. As I say to my clients, “comparison is the thief of joy”.

Know when to listen

Communication and engagement have been key to both my career in production and my work as a stylist now. Learning how to gain someone’s trust is imperative as a personal stylist and you generally only have a finite amount of time to do it in. I have quite an outgoing and bubbly personality which is fortuitous, but it is also important to hold back and listen to your client in order to gauge exactly what they are asking of you.

The drapes don't lie

I always think of my colour analysis service as some kind of magic! I love the fact that it’s not my word against theirs, I simply facilitate an experience that evolves throughout the session—my clients can see exactly what is happening right in front of their very eyes. Identifying a client’s “wow” colours involves analysing their personality, their skin and hair tone but mainly using our specialist drapes. It’s amazing how the correct colours next to your face can diminish lines, even out skin tone and make you look younger whereas the colours not suited to you can make you look tired and drained.

Once upon a time, I was sceptical about colour analysis but since being trained by the amazing Jules Standish in the subject, I have introduced a lot more colour into my wardrobe. I now understand how imperative it is to wear the correct colours if you want to look your very best. I fall into the Spring (sanguine) colour palette. The ‘Springs’ are having a wonderful time in the shops at the moment, with all the vivid greens and reds out there.

The impact of style

Personal styling used to be seen as a service reserved for the rich and famous, but it’s now becoming totally accessible to everyone—self-care and self-belief are imperative. The most satisfying part of my job is giving women and men the confidence to make them feel good about themselves. The last couple of years have seen a decline in the 'need' to dress up and people have consequently got themselves in a style rut. If you feel good, you look good. And then, people perceive you in a completely different way. Once you find your style, there is nothing stopping you—it sounds dramatic, but it can be life-changing!

Old school cool

I absolutely love pre-loved/vintage shopping! We have a selection of little local shops in Essex, one of my favourite dresses is a vintage Luella from Holt in Norfolk and I have many leather & suede jackets from Camden market—there is no rhyme nor reason to where I shop, great finds happen everywhere. I regularly visit the Vestiaire Collective site, one of my recent purchases was a vintage Dior bag that I tracked down in Sydney and had sent over. When shopping vintage, always makes sure you are purchasing from a credible seller who can confirm the authenticity of the specific item.

Keep a tailor on speed dial

I bought a spring/summer Whistles jumpsuit last week which is gorgeous. However, being 5’2, I had to have five inches taken off the trouser legs to make them the culottes they were supposed to be—it’s definitely a good idea to know a talented tailor!

Wardrobe staples

My personal style? Dressed down classic with hints of urban. All blazers in my wardrobe are very well-worn, but I do have a favourite—a navy Guess number with a really unusual pattern (my description doesn’t do it justice!). I love wearing my DVF wrap dresses when going out and my Golden Goose trainers for everyday dressing down. But my favourite item in my wardrobe is, and always will be, a long, wool coat from Miss Selfridge that my very stylish mother bought and wore for my christening, 47 years ago! I love looking at the pictures of her wearing it and everyone is always so interested in the story. I love wearing clothes that hold memories and have a special meaning behind them.

In the current crowded digital landscape, many consumers are suffering from over-consumption and desensitisation. To create content that cuts through the noise and truly resonates with an audience, one must think outside the box. Help is often found in the most unlikely of places, this time in the form of Bridgerton's infamous gossip columnist—Lady Whistledown.

Whether you believe her audacious, shameless, unethical or genius—one thing you can't deny is that Whistledown knows how to engage an audience. Her scandalous publication captivates the entire fictionalised high-class society of Regency-era London! Lady Whistledown operates anonymously, meaning her success is not based on prior affiliations with her name and she certainly doesn't rely on social media reach or SEO manipulation. So just how does she do it?

We've examined her scandal sheets to find out exactly what it is that keeps the ton hooked. Oh and the best news? Binging Bridgerton now counts as research!

Do your due diligence

"Be forewarned dear reader, I certainly know you." Slightly ominous though this statement may be, it explains why Lady W's content is always a hit. She knows her readers—private scandals and all. Her content exploits the current interests, anxieties and longings of her audience. There is also an element of recognisability in her work—familiar faces, places and events all help to satisfy the universal desire to read stories that one recognises themselves in. Though we're not suggesting your writing should unearth private affairs and tarnish reputations, there is a lesson here in knowing who you're writing for and what they want to read.

Having a clear reader archetype in mind when writing will keep your content relevant, relatable and entertaining. What topics are most important to them right now? What do they want to gain from your content? What other content are they consuming? What TikTok subculture are they browsing? Do they actually know what TikTok is...?  Where do they spend their Friday nights? In-depth answers to questions like these will help shape your content strategy, influence your tone of voice and reveal interesting angles. Remember: people want to read stories that they recognise themselves in, so you first have to recognise your audience.

Case in point

‍Laura is a personal shopper and style consultant, using Instagram stories as a way to gauge the attitudes and shopping habits of her audience. Her "shop/drop" feature gathers audience feedback on new high street collections whilst the "let's chat" highlight opens up intra-community discussion on topical conversations, such as the return to retail post-pandemic. Laura gathers insight in a playful, interactive way and can channel this feedback into her direct work with clients.

Don't find a niche, create one

Whistledown noticed the ton's insatiable hunger for gossip and she decided to capitalise on it. Though historians attest that scandal sheets were rife in the Regency era, within the realms of Bridgerton, Lady W is the only one in the game. Whisteldown's intentions may be morally dubious, but her resolve is unwavering. She knows what she wants to achieve with her content and she sticks with it—even when threatened with a warrant for her arrest.*

Analyse your prospective audience. What information do they want/need that is not currently readily available to them? That is your niche. Carving out a unique take that reflects the shared interests of you and your audience will give your content clarity and relevance that, over time, will ensure you develop an engaged, supportive community.

*Visualist will not be made liable for any arrests.

Case in point

‍From Joe Biden's logo rebrand to the way in which memes now drive political narratives, "politics today is visual" and yet the phenomenon is, or rather, was rarely analysed—until Hunter Schwarz found his niche. Schwarz set up his newsletter, Yello, as a platform to "take a deeper look at the images that shape our politics and the stories behind them." Schwarz found a loyal audience in designers, media professionals and creative government officials who never knew they needed this content before.

Think about your distribution

Lady Whistledown follows two simple rules in her distribution process:

• Consistency. Printed overnight and distributed early morning—usually following an influential social event.
• Accessibility. The papers are quite literally placed in the palms of the reader. Direct and unmissable.

The lesson here: meet your audience where they are, when they expect you to. Host, and more importantly, promote your brand on platforms that are easily accessible to your audience. Don't wait for an audience to seek you out, land your content right under their nose. (Return to due diligence if you're struggling to locate where your readers naturally reside.) Consistent commentary on current affairs and social attitudes makes you a reliable source of information that your readers will return to when they want an understanding of trending topics. Note that you don't have to report on 'news' to make content timely.

Case in point

‍Present & Correct is a London based stationery shop, but rather than wait for the right customer to idle past the storefront—they went and scouted them out themselves on social media. Their coherent, aesthetically pleasing feeds quickly resonated with fellow minimalist, pastel-loving, organisation fanatics. Their content is a reliable moment of joy in a routine scroll and their regular posts mean their brand is consistently subliminally advertised. Present and Correct indeed, the brand maintains a strong, supportive presence in its community. They regularly share the work of creators who embody the brand aesthetic and tailor their in-house content to current social affairs, such as the recent spring equinox or commentary on a favourite film at the Oscars.

Prove your value

Lady W, being the "brilliant woman of business" that she is, knew she had to give her audience something of value for free before attempting to extract value herself. The infamous society paper was once distributed free of charge but, as the eagle-eyed amongst us will have noticed, eventually Ton residents had to offer up their change in order to get their hands on an edition and this season she has once again upped her prices! Once Whistledown's reputation was assured, she was able to parlay her engaged audience into a tangible stream of income. Perhaps monetising is not your end goal but if it is, it doesn't necessarily have to be where you begin. Create value before you consider cashing in on your content.

Case in point

Antonio Carusone started his blog, AisleOne, as a simple creative outlet. Though Carusone had sustained an engaged audience for quite some time—it was sixteen years before he began offering subscriber-only content. Regular readers still have access to the valuable insight and entertainment that first attracted them to the platform however there is now the option to subscribe and receive novelty additions: Spotify playlists, exclusive downloadable posters and even custom clothing. Antonio's long-time gratuitous offerings now compel his community to give back.

Talk of the ton

Whistledown's reputation relies heavily on word-of-mouth, yours will rely on the share button—but the same principle stands: create content that people feel compelled to talk about. Content that starts conversations.

If your content leaves readers feeling emotional, equipped, curious or validated, they'll want to share it with their own community. But it also has to be suitable for sharing. Not just logistically (although quick links help), but aesthetically. What people share becomes an extension of their online persona; your content needs to enhance their image. Include tweetable quotes and embellish with aesthetic visuals that look good on an Instagram feed—people do judge a book by its cover.

Case in point

‍Visualize Value is an educational platform in visual communication. Simple but impactful illustrations of key business philosophies are shared across the brand's Instagram and Twitter. Their sleek, monochromatic design makes them aesthetically appealing enough to warrant a share. The real appeal, however, is that by sharing Visualize Value's content one can communicate their personal investment in the idea with minimal effort and maximum clarity—enhancing an intellectual, polished online persona with a simple re-tweet.

‍

And there you have it, dearest readers, an exclusive insight into how to leave your audience craving more! Perhaps we would be remiss not to mention that an audience does not appear overnight— one must remain steadfast in spirit when building such an audience. As Lady Whistledown once famously penned, "patience, after all, is a virtue."

This exploratory article seeks to encourage dialogue on the merits and drawbacks of digital social media platforms. The views expressed are those of the writer and do not reflect any official stance or bias against Instagram or any other specific platform. We encourage readers to adopt an open mind to the contrasting, or controversial, perspectives that are presented here.

‍

12 years on...

Instagram has long reigned supreme as a hub for creative talent, established and emerging alike. Art is auctioned in DMs, bedroom stylists land editorial shoots, and small-time designers are able to launch independent labels. And yet, it is increasingly clear that Instagram's swipe-and-scroll architecture poses challenges for innovative thinkers and their multi-dimensional creative ideas.

In recent years the addition of "reels" and shopping features to Instagram's infrastructure has transformed a humble gallery into a multi-complex mall. The future of the platform is hinged on increased e-commerce and short-burst entertainment—great for the budding influencer, but an unnerving landscape for small-scale creatives.

‍

Battling the algorithm

The now infamous Insta-algorithm has been the cause of widespread frustration amongst creatives using the app to showcase their work. Photographers, artists and designers alike have reluctantly sacrificed their artistic integrity to grovel at the feet of the mighty algorithm. They have chosen to post 'safe' content in an attempt to ensure their profile is exposed to, at a minimum, their followers, and—if they're lucky enough—new audiences.

Creatives are quite literally boxed in; their ideas condensed into uniform, 1080-pixel panels in an attempt to be rewarded with likes and comments. In a sense, Instagram has made it dangerous to experiment—but experimentation is a key ingredient of creativity. Whilst those who arrived early in the game have mastered the 'art of the algorithm', the late(r) arrivals in the final quarter are finding it harder to land their shots. These creatives have to consciously dress their content up—or down—to make it fit for Insta-consumption.

‍

The Instagram exodus

But to log out of Instagram? Career suicide, surely?

500 million daily users make Instagram an undeniable powerhouse with a remarkable ability to surface new trends and be the hotbed for the next big cultural phenomenon. So is there really an alternative to Instagram? Though these are alluring assets, using Instagram as the sole building block for your presence in the creative community is unwise. As tempting as it may be to strive for Insta-fame, creatives may find greater rewards as big fish in smaller ponds.

Enter: oft-overlooked or previously dismissed 'fringe' platforms that are re-writing the rules of how creatives behave on social media. On these platforms, follower count is secondary to education, community and opportunities for growth. Case in point: Twitch, thought to be exclusively dominated by Fortnite, is now premiering luxury fashion collections and Slack, once shunned as an office-only tool, has become an epicentre for creative collaborations. If you're considering a migration from Instagram, take a fresh look at these tried-and-tested Instagram alternatives.
‍

Alternative social media platforms for creatives

‍

Reddit

Sign up...

For a fuss-free and unvarnished, yet authentic, connection with your community. Reddit is not a catalyst to fame and fortune. Use it as your research lab.

Features of note

• Upvotes/downvotes. Likes have a fickle reputation—historically likes have awarded the 'aesthetically pleasing' over the 'value adding'. Reddit's reward system acts on a sliding scale, your net position being dependent on how valuable the community deems your content. Up/downvotes are a good indicator as to what resonates with your community, a valuable tool to inform your work.
• Redditors. A self-policing feature that the developers never had to programme! Redditors are keen to protect the authenticity of their community, which means exiling users they suspect are there for personal gain and not community enhancement. Information on Reddit is often refreshingly unpolished and comes from the heart, rather than being manufactured to receive a heart via a double tap!

When it's worked

Reddit is home to supportive communities that would struggle to exist in the superficial terrain of other social media landscapes. 'Subs' have naturally developed with a focus on self-improvement, not self-promotion and collaborative learning, not competition. One such sub is /r/ArtCrit—a space for users to share their work, or often work-in-progress, and receive feedback from other artists.

When tracking the post history of regular users, the progress between each submission is often evident. The feedback under each post is gratefully taken on board and artists are able to focus on developing their craft away from an often scathing public eye.

Twitch

Sign up...

‍If you believe that the creative process is just as important as the end result.

Features of note

• Live streaming. Instagram is often used to parade art that is complete and polished, whereas Twitch invites followers to view the entire process— the imperfections and mishaps too! Many followers wish to learn for themselves—a walkthrough of the process is far more valuable to the audience than the end result alone. The creator also benefits from a live audience: where creating can often be a solitary process, streaming provides company. It also provides accountability—the presence of an audience forces creators to focus on the task at hand and resist the temptations of procrastination.
• Ad revenue. All creatives know that turning passion into profit does not happen overnight. That remains true on Twitch, but for successful, consistent streamers there is the opportunity to monetise a channel with paid ads. Popular streamers with a highly engaged community are also known to receive donations and 'gifts' from subscribers.

When it's worked

Twitch is still largely dominated by gaming content, but interest in the platform from other industries is rapidly increasing. Some creators have already jumped on the train and are reaping the rewards. Vicky, the artist behind Squibble Design, started streaming in 2017. By 2018, she was streaming for four and a half hours a day, four days a week and her audience is now 1.7k strong!  For Vicky, this community is everything: "I enjoy sharing my art with and explaining my process to people whilst I am working. I have met a lot of other artists from around the world and everyone is very supportive."

Glass

Sign up...

For a reminder of what Instagram once was. Glass is a modest photo-sharing platform operating on a paid subscription, meaning the entire in-app community is invested (literally) in the growth and integrity of the platform.

Features of note

• No public counts. Users can still show appreciation for others' work, but only the creator themselves are notified. The lack of public performance indicators tempers any obsession with popularity, and encourages the sharing of authentic content that is true to the creator not the public—or an algorithm.
• Chronological feed. Unlike Instagram's feed, ruled by that pesky algorithm (although that may now, yet again, change), all posts on Glass are displayed chronologically. Instead of favouring bikini pics, Glass ensures exposure equality for all professional photographers and allows users to reclaim control over the content they consume.

When it's worked

Kwame Johnson is a freelance web developer based in Seattle. Instagram was his firm favourite photo sharing app, before "marketers and influencers got on it." The strong focus on community is what differentiates Glass for Kwame. "I've gotten into some friendly conversations with folks, that wouldn't have happened had we just double-tapped to like." As for the subscription fee? He's a fan of that too! "It makes it feel like the people who are on Glass truly care about photography and are not trying to be social media influencers."

Twitter

Sign up...

To claim your soapbox! Engage in conversations within your industry and use your voice to influence important narratives.

Features of note

• Character limit. Tweet formulation is a lesson in effective communication. Learn to say something captivating and relevant all in 280 characters, and odds are you'll become more eloquent and compelling offline too!
• Lists. On Twitter you can create personalised 'lists' allowing you to group accounts by topic or interest. Lists can then be displayed in exclusive newsfeeds. Browsing content from a personalised list makes scrolling more intentional and creatives are more likely to come across the relevant/ inspiring content that they set out to find.

When it's worked

Twitter has earned a bit of a reputation as an elusive playground for the Silicon Valley elite and as such has perhaps been dismissed by creatives unfamiliar with the platform. But Pablo Stanley, CEO and cofounder at Blush and creator of Humaaans, has never underestimated the power of the tweet. He has earned a following of over 90,000 on Twitter and can be found actively engaging in NFT Twitter—whilst maintaining a quiet (or non-existent) public persona on other platforms. Pablo also puts his sizeable Twitter follower count to good use, by often using his platform to lift up others in his field and sharing their work.

Discord

Sign up...

To find refuge from the influence of likes, votes and shares! On Discord you can talk uninhibited by the pressure of social media performance.

Features of note

• Video calls. The ability to talk 'face-to-face' allows for deeper intra-community connection. Additional in-call features, such as screen sharing, encourages collaborative learning and eliminates any unsettling competitive underpinning.
• Channels. On other social media sites, it can be very hard to find communities for very niche interests. In Discord, 'Channels' mean umbrella interests can be broken down and it is much easier to find like-minded individuals with whom you can explore your passions.

When it's worked

Muralist, Alice Lee, and software engineer, Amy Wibowo, were looking for a space where they could indulge in chatter about their various hobbies, from ceramics to sewing, hear about other creative projects whilst sharing their own and, above all, celebrate cuteness! When they couldn't find a space that did all that, they started their own: a Discord community aptly titled, Creative Cuties.

Prior to Discord, most of Alice's engagement with her community happened on Instagram. But she prefers the "semi-private, longer threaded conversations available on Discord that public social platforms aren't as well-suited for." Discord also boasts "a lot of nice integrations with community management and moderation apps—and as a platform, it has a lot of delightful touches that make it fun to be on."

Although moderation is made easy, Alice thinks the key to her communities success is the lack of interference, "Our Discord is a fun creative community, and less of a 'personal art brand extension'." The pair have opted for a light approach to moderating, "We have a strict Code of Conduct but other than that, the conversations and interactions are mostly community-driven." In fact it was one such collaborative conversation that helped decide the colour palette for this super sweet bomber jacket!

TLDR

Instagram remains a hub for creative talent, established and emerging alike. However, creatives would benefit from exploring the range of social media platforms available to them and deciphering what feels most authentic to them and their brand.

Community > Following

Education > Approval

Freedom > Algorithms

Our Colour Hunt AR filter sums up our love for colours here at Visualist. And Vivian, or Viv as she likes to introduce herself, was the one to skilfully develop it. Viv is a technical and AR artist—entirely self-taught with the help of the internet. Viv studied business, but after completing her master's degree, she got a taste for something else—she wanted to innovate. In order to do so, she knew she had to learn to code. Nowadays, you'll see Viv changing the world one code at a time. Sometimes she even creates new ones with AR filters.

At the time of writing, Viv was enjoying a 1-month holiday in Brazil but luckily for us she couldn't quite stay away from her email inbox. We speak to Viv about her love for experimentation and the many faces of code...

Coding: the doorway to innovation

I always loved computers, but Computer Science back in the day was very male-dominated. I didn’t feel like I fit the typical male developer stereotype in order to pursue it as a university degree. It’s still a male-dominated field but the democratisation of learning through the web and coding boot camps has opened opportunities to a more diverse crowd and is bringing different profiles to the industry.

I was working in the Creative Industry before and I did a Master's Degree in Innovation in an attempt to bridge the gap and jump into tech. Soon after graduation, I realised that in order to innovate, I had to code. And so, I fully committed myself to learning code on the internet. I definitely don't regret my decision!

Neon beginnings

My first AR filter was inspired by Tracey Emin's neon artwork—it had a couple of her neon writings on the screen that the user could tap and choose to feature themselves with. I still love the concept but funnily enough, it violated Spark AR’s static text policy at that time, so it was never published. Unfortunately, it was very short-lived.

Inspiration = experimentation + information

When I’m making something new, I usually explore all the possibilities within a feature or a capability and combine that with other experiments I have done in the past. Sometimes I draw inspiration from things I see on the internet but, more often than not, I draw my creative inspiration from experimentation and following my intuition.

I also try and keep up to date with new technological releases—more feature releases mean more opportunities to create. I like being part of the Spark AR community and other creative tech communities to see what’s being made.

Best of Instagram

I only post on Instagram when I have something new to show—a filter or a project. But of course, I love the AR filters. Instagram has also recently announced the integration of NFTs into the platform in the near future and I think that will be cool. I wish I was more active on other social media platforms, like Twitter for example. But I think I'd struggle to maintain the same virtual presence that I have on Instagram.

If it's not Instagram, it's...

YouTube. It suits me as a constant learner. I can save playlists and watch them offline. It's handy when I'm on the move.

Girl power

Spark AR has over 110K creators and it’s amazing that the male and female ratio is 50/50, especially considering how male-dominated the tech sector is. I don’t feel so alone there. In fact, it gives me hope for the future. It’s important to cater to diversity to continue producing great creative work.

Know your worth

When I was starting out, I asked for a lot of advice on the freelance process and how to set my rates. One piece of advice that stuck out: do not undercharge nor undersell yourself. But it was only through trial and error that I was able to stick with it. Nowadays I know my worth and can say "No" to projects that do not match my values.

Side hustles

I’m constantly saving links and videos to learn from at a later date. That is what I dedicate most of my free time to. Learning is my side hustle.

Right now, apart from coding, I’m focusing on Computer Graphics and 3D. I have tried to get into NFTs but I’m still not there ye, hopefully one day. I got caught up in the blockchain rabbit hole back in 2018 and got out of it by choosing the AR path. I’m pretty good at focusing on one area at a time and avoiding distractions—I tend to do short explorations rather than being consumed by one interest.

Vivian x Visualist (and other projects)

For my collaboration with Visualist, we wanted to create a colour hunt game that challenged users to interact with their surroundings to find a colour. I had a lot of fun developing and, eventually, playing with the filter.

Recently, I also worked on a mini-game for Maybelline NY in partnership with Popular Studio. The user has to catch the falling mascaras to the sound of the beat, scoring points results in a reveal of the full Maybelline eyelashes look at the end! It was a real test of my logic, as is often the case with mini-games. I ended up using a mix of script and patches to deliver the project. Another recent project was for Monki in collaboration with Body Dysmorphic Disorder Foundation. We wanted to raise awareness of the unrealistic beauty standards portrayed in some beauty filters, particularly those that deform the user’s face and have a negative impact on people suffering from body dysmorphic disorder. The goal was to promote a petition demanding more transparency over altered images on social media. I did this filter in partnership with PopulAR—we created a magazine cover with positive messages featuring the user and their natural beauty. We purposely avoided any 'beautifying' features.
But right now, I’m on a month-long holiday in Brazil—where I’m originally from. I have a ‘no computer’ policy. It’s the first time in 3 years that I haven’t brought my computer on holiday!

Today, it can seem that we're flooded with experts—thought leaders are around every corner, and there's enough content out there to swamp us. So, in this content-crazed climate, how do we get our voices heard?

Whilst the idea of a personal brand isn't a new one, we're approaching it from a new angle—an angle fit for the Age of Authenticity that we live in. One that seeks to be personal, organic, and, most of all, real. To do this, we've taken advice from the industry where verisimilitude—coupled with entertainment—is everything: game design.

And, to help us along our journey (and with inspiration from our favourite game at the moment: Wordle) we've created an acronym to follow: SPICE. Here are our top 5 game design takeaways for creatives to spice up their personal branding.

The what and why of personal branding for creatives

What is personal branding?

Your personal brand is the message that you share about yourself—who you are, what's important to you and the way that people perceive that message. You may be known as a creative risk-taker, always on the forefront of new developments or as a data-driven creative, leveraging information to provide consistent, rational takes. It's all up to you. Your personal brand is your signpost that says, "this is me".

Why is personal branding important?

Having a strong personal brand means that you instantly conjure up a vivid image of yourself—to both those who know you, and those who freshly discover you—and, best of all, it's an image of your choosing. It allows you to become a visible character within your field—helping to attract new clients and collaborators.

With the overwhelming amount of experts (and expert content) in the world, a strong personal brand is a way of standing out from the crowd and carving a niche (more on that later).

What has this got to do with game design?

In the video game industry, engagement is everything—game design is focused on grabbing attention and holding it. Most of all, though, it wants to do this in a natural way—if a game feels too artificial, well, it just won't be fun. The same applies to our personal branding—if our persona, or our messaging, feels forced and artificial, it won't be engaging (and may well be off-putting, instead.) Key to this is the concept of "nudging"—a communication and game design technique designed to convey information, intent, and story in a subconscious way.

We can leverage these nudging techniques to craft our personal brand in a way that intrigues, clearly communicates our message, and does it without seeming disingenuous.

5 tips from game design theory

(S): Signpost

Starting off our spice mix, signposting is a "nudging" technique used in game design to encourage certain decisions or interactions, whilst maintaining the open-ended (or self-determinate) feel of a game, namely by employing colour, lighting and form to push the player in certain directions.

In terms of personal branding, signposting can be used to imply things about ourselves, and our personal image, without saying them outright—which runs the risk of seeming artificial or forced. We can also use this technique to encourage possible contacts and collaborators to get in contact with us!

What better way to cement yourself as an expert than to write a book? This eBook—produced by Always Andri—presents her expertise in a natural (and informative!) way, without explicitly saying it. It's also extremely relevant to her chosen niche, providing a springboard for our next tip: participation.

(P): Participate

Video games manage to draw enormous audiences through their collaboration and crossover events—Fortnite's in-game Marshmello concert is just one example of this. They manage to bridge multiple communities to create unique, one of a kind events and we can do the same thing with our personal branding, if only we allow our audience, and colleagues, to participate.

Bringing participation to the forefront of her personal brand is Jesiah with her collaborative Spotify playlist. She encourages her peers and her audience to add to the playlist—not only creating an interesting and valuable collaborative resource but using the opportunity to expand into new niches and open conversations with new people. It's this two-way act of participation that helps Jesiah to draw closer to her audience, establishing her personal brand as a truly authentic one.

(I): Interact

Games are the ultimate form of interactive media, so why not use some of those techniques for personal branding? Interactivity helps to create a closer, more personal connection—both with media and with people. Whilst in game design, the goal of interactivity is to engage and entertain, we can use the same techniques to create personal connections with people—establishing ourselves as experts in our field and sparking conversations.

Laura Gao provides an excellent example of how interactivity can be used to level up your personal branding. Laura Gao—an author herself—utilises Twitter Spaces to create public speaking events with other similar authors and creatives that are open to her community. This provides her with an opportunity to put their thoughts forward, establish her as an expert in her chosen niche, and even interact directly with her community via Q&A's or adding them as speakers to the event.

(C): Challenge your audience

Challenge is the essence of video games—overcoming challenges, especially with the help of other players, is a hugely rewarding experience, and a whole lot of fun. Whilst we traditionally associate brands with social media challenges, with the advent of TikTok and other hyper-personalised social media technology, they can be an incredible tool for personal branding, too.

This Instagram challenge by Valeria Vasi combined participation, interactivity and challenge to create an event that strengthened her personal brand. She ran a competition where fellow creatives could pitch proposals, and her audience would vote on the winners. The prize? One of her hand-designed vases. Not only did this competition solidify her personal brand as that of an incredible creative (and one open to collaboration), it also forged connections with creatives in adjacent realms.

(E): Embrace

Whilst knowing your audience is critical for any endeavour, in-game design, it's everything. Game designers know their audiences inside and out—more than that, game designers know the genre and category of the game that they're designing just as well. They're immersed in similar products to theirs, and they fully embrace their audience—meaning that they can not only see the do's and don'ts of their genre, but they also get a first-hand view of what works and what doesn't.

We can apply this same technique to personal branding. It is imperative that you fully embrace your industry, and your audience. Doing so enables you to take part in relevant conversations, offer your unique insights on trending topics, and, most importantly, allows you to carve out a niche for yourself.

Through her podcast, Kinsey Ranee ensures that she is fully in sync with her audience. Often featuring guests, Kinsey's podcast allows her to consistently cover, and learn more about, topics that are important to her audience. Her focus on having guest co-hosts keeps her informed about developments in her—and adjacent—industries. More than this, though, Kinsey's podcast is personal and authentic—it fosters a deeper connection with her audience, encouraging a mutually beneficial relationship of sharing thoughts, feelings and ideas wholeheartedly. Kinsey takes embracing her audience to a whole new level.

Create your own spice mix

Ultimately, crafting your personal brand is a unique experience and the exact flavour of your spice mix (more puns!) is down to you. Whether you're hosting interactive live streams or challenging your audience to build relationships—these game design techniques are sure to keep your brand authentic and personable (not to mention flavourful!)

Claudia Kalur once called the galleries of The Met home, working for their Department of Egyptian Art. But growing reluctance to pursue a PhD (necessary to advance her career) and lingering memories of her childhood fascination with architecture and design, led Claudia to consider a different path... She did end up pursuing another degree. But this time it was in interior design.

Claudia set up CFK Interiors with her newborn daughter in tow. Years later her brand is synonymous with "pristine, timeless and tailored design"—a credit to her accomplished academic past. Claudia explains why moving on does not mean giving up and shares the wholesome origins of her love for fabric.

Family inheritance

I am from Portugal, a country over 800 years old, and my father would often take us on day trips to museums, churches, monasteries, etc. when I was growing up. Whilst as a child I sometimes found it boring, they definitely developed my curiosity. They awakened a love for art and architecture and the stories within them.

Also from my father came my love for fabrics, he was a fabric rep for mills in the north of Portugal that weaved men's suiting wools like pinstripe and plaids. I grew up with fabric swatches and always loved when some fabrics were discontinued and I could have the samples!

Memories of The Met

After a degree in History of Art (from the University of Lisbon), I moved to London to do a Master's in Egyptian Archaeology at UCL. I worked at the Egypt Exploration Society and the British Museum as part of my research as an assistant to researchers.

I was working with Egyptologists whose work I had read while an undergrad in Lisbon and now here I was working with them. I was in complete awe the whole time. I also worked at the Royal Academy of Arts where I was exposed not only to the beautiful building, but to the background process of curating exhibitions. Some of my fondest memories are of standing in the galleries with the art handlers seeing the pieces being installed.

Then I came to NYC as an intern to the Department of Egyptian Art at The Met and ended up being offered a full-time job as a research assistant, where I stayed for over 6 years. I loved Mondays at the Met! The museum was closed to the public so the galleries were empty. I loved walking slowly through the Egyptian wing and studying the collection in detail.

Awakening passions

I have always loved interiors, I have been buying interior magazines since I was 13 or 14. At the time there were none in Portugal so my first magazine was the Spanish, El Mueble. But it did not occur to me that it could be a profession, I only thought of it as a hobby. Plus, by then I was in love with Art History so I never gave it much thought.

Then my husband took a huge career U-turn—he was a private aircraft broker but after we had re-done two apartments, he decided to go back to school and do a Masters in Architecture. So, he started to bring home floor plans and we would discuss room layouts and that awakened in me the idea that I could perhaps consider doing it as a job...

A double life

I started my diploma in interior design whilst working at The Met. My job was research-based , so studying felt very natural—the diploma was a distraction!

As I became more disillusioned with work at the Met, and increasingly excited by fabrics and furniture, the thought that I might make a serious career change started solidifying. However, it took me a long time before I quit Egyptology and decided that I was starting afresh.

I think I lived a double life for a couple of years! I only told my husband and a friend at The Met that I was thinking of completely changing career paths. It was hard for me to quit something I had worked for for so long. For a while, I saw it as a form of defeat. I saw it as giving up.

Starting from scratch

I still feel like I'm playing catch up. All the time. But I think it's down to my personality, as I felt the same with Egyptology. I always felt others knew more so I had to catch up—read more articles, more books, visit more collections.

Having said that, what I did not realise was that because of my degree in History of Art thus having studied architecture—I was more caught up on knowledge than I thought.

Going at it alone

I loved working at Privet House and I learnt so much: a business perspective, choosing and buying antiques and vintage pieces, aesthetics, design, art, interiors. I met so many designers and architects I admired and learnt from them.

However, the bottom line: I wanted to do interiors, not just sell beautiful things. The shop had no intention of offering design services and so, I figured I needed to start doing it on my own. I had just had my daughter and needed a paying job so there was no way I could afford to start as an intern at a design firm.

So, I created my company and very, very shyly started offering services to friends, friends of friends and soon enough I started getting projects. My first two projects were 'zero fee' in exchange for photos for my portfolio!

Lessons from a personal history with history

My academic path and working in museums taught me a few things that I carry with me to this day. Whilst I loved Egyptology and even went on excavations in Egypt as a ceramicist, what I was interested in was art research and working in museums. I was (and still am) fascinated by flow paths and how curators design exhibitions in a way that intentionally guides people through a space.

Also, the importance of having a method. When you research and gather information whether, for an article, an exhibition label, or a design, it's fundamental to have a method.

It's all in the details

Egyptology taught me to see, and pay attention to, the details. Training your eye is fundamental in design. You may be naturally predisposed but you still need to train your eye to see more, to see differently, to understand what you are looking at and to realise why an artist or designer chose to do something a certain way.

As both an art historian and Egyptologist you spend hours looking at pieces to understand all the details, the nuances, the changes, so you can understand a period, a method, the story behind it. This helps me zone in on certain details but also to see the big picture and what works and does not work when putting a space together.

The bucket list

I lived in London for 5+ years and my aesthetic has always aligned more with the way British designers view and design interiors. I have had projects there and I keep up with the design world in the UK and France—I make sure to visit Chelsea Harbour and showrooms every time I am in London! But I want to have more projects in London, and I'd also love to work in Portugal, simply to have an excuse to be home more.

But, on the bucket list:

• Design the interiors of a boutique hotel or a historic inn. Or even a private jet!
• Have a project published in the pages of House & Garden—what a dream!

If you could go back in time...

I wish I had made the move to interior design sooner, so I could have had spent more time working for and learning from other designers. I think we have stopped appreciating the value of an apprenticeship, I think it is so important to learn from others' perspectives and experiences.

I wish I had made the move whilst in England as I would have begged for apprenticeships at Colefax & Fowler and Nina Campbell (today that list would include Rita Konig and Todhunter Earle too).

Accepting it is time to move on

It was extremely hard to leave Egyptology. I quit because I felt I had hit a wall. I did not want to pursue a PhD anymore and for an academic career that is a must. I did not want to immerse myself in a degree that no longer gave me the same joy.

Re-discovering what I now consider my first passion, interior design, may have made me doubt my future in Egyptology. I do miss working in museums terribly! Now and then I find myself thinking that one day when I have more time, I would love to study museology as a hobby.

Julia Murray has lived in many different places, but endeavoured to turn each house she settled in into a home. Unfortunately, the finished projects never quite matched up to what Julia had envisioned. Instead of being deterred from the process, Julia simply thought, "How can I fix that?" In her quest to find the solution, Julia left the record industry behind to set up her own interior design business, The House Ministry. What Julia found is that homes were not built by materials alone, but with the help of emotions. Julia now recognises her work as part of the "emotions business" and understands how our surroundings affect our mental wellbeing.

Julia talks about balancing the school run with her own school work, why you should never assume anything and how an obsession with rearranging the furniture shaped her career...

Early signs

Looking back, I realise that I’ve always been interested in houses and how people live in them, but just didn’t recognise it or even know that interior design was a possible career at the time. When I was about 14 or 15 I visited an exhibition of show homes which ignited my interest. After that, I remember sketching floor plans for my ideal house layout as a teenager and rearranging my bedroom furniture a lot.

Why she started

We moved house a lot with my husband’s job and renovated the properties we lived in. There were two issues that frequently cropped up: firstly, I discovered that trades-people I engaged to do the work didn’t always work well together, resulting in costly mistakes and delays. Secondly, the finished rooms didn’t look quite as I expected them to.

There was something missing and I didn’t know what. I decided to retrain in interior design to discover why.

Why she stays

Interior design is constantly inspiring. It’s an industry that is continually evolving and I never stop learning. Every day I challenge myself to be the best I can be. I’m lucky that I’m working in a field that I really enjoy.

Studies and motherhood

I found returning to study a really good experience, challenging but rewarding. My family and friends were all very encouraging. The tricky bit was finding childcare for my school-age children so I could do a face to face course, which gave me an understanding of design from the perspective of other students.

Defining your own success

It is so easy to compare your career beginnings to someone else’s middle or end. In the early days, I had to remind myself that those I was comparing myself to had many more years experience than me. With any training, there is still a lot to learn when putting the teachings into practice and I have literally spent hours and hours reading and researching to supplement my knowledge. I aim to be the best designer I can be and serve our clients in the most effective way.

It's not all cushion plumping and soft furnishings...

Interior design can be wrongly thought of as a frivolous pursuit—all cushion plumping and soft furnishings. In reality, it is so much more important than that.

By interpreting the feelings that people want to experience when they walk into a space, a designer will create a spatial layout and room design that delivers that for them. Think about entering a glamorous hotel, fancy restaurant or high-end store—somewhere you instinctively said "WOW!" when you walked in. You subconsciously recognised it as being a space that made you feel happy or inspired. That’s the direct effect of interior design. Conversely, a space that is gloomy, badly laid out with poor lighting can really lower your mood. Interior design directly affects the emotional well being of a space’s users.

Harnessing the power of colour

In my view, blues and greens are the most harmonious colours to promote balance and happiness. We see these colours in nature—countryside, the sea and sky—and most people love being outside. There are so many different shades and tones of both; there are endless possibilities for schemes using them. However, a colour scheme will always need other accent colours and finishes to really bring it to life.

Neutral colours such as cream, beige, sand, white and browns can also feel balanced but can become very bland unless you know how to create interest and use them together. Likewise grey has been very popular lately, but too much of it becomes oppressive.

As part of our CPD this year we are doing a course on colour psychology which explains the scientific reasons behind why certain colours make us feel particular emotions.

Wisdom from the music industry

1. Never assume anything!

2. Creativity still needs a process.

To avoid chaos and costly amendments, creative elements need to be underpinned by structure and a process to follow to take it from the first idea through to the completed result.

The reason for both these lessons being relevant is really that both industries involve creative elements being turned into a finished product with many moving parts and people involved along the way. Lots of detail means that many things can go wrong, and you have to be ‘on it’ to ensure that everything has been checked, thought about and communicated.

For example: if you don't put in writing that you want a braid added to the leading edge of the curtains exactly 2cm in from the edge, then the maker will just decide what the distance should be—and it probably won’t be what you want!

Both music and well-designed interiors have the ability to give us all an emotional boost—a pleasure that we can return to time and again. Working in the music industry introduced me to a wide range of different genres of music which kept my mind open to the fact that inspiration and enjoyment can come from many unexpected avenues.

Advice for a newbie

It is the start of a long journey, with many challenges along the route—most of them related to running a business, rather than design!

Let the music play on

I have definitely maintained my connection to the music industry. I’m still in touch with several good friends I made during my time at EMI, some of whom are still working in the industry. I listen to music a lot at home and love going to see live music when I can.

The only thing that has changed since leaving the industry is that once upon a time, I had no problem working in an office hearing two or three different artists' music playing at once—now I don’t think I’d be able to concentrate!