It's no secret: we love colour here at Visualist. And so does Stephen Westland. Steve is a big believer in the power of creativity. He's a drummer, writer, podcaster—and a colour scientist. Steve is Professor of Colour Science at the School of Design at the University of Leeds and has worked with companies like AkzoNobel (the owner of Dulux paint) and Colgate (the toothpaste company). His colour research spans many disciplines, from design and fashion to artificial intelligence and machine learning. In one recent article, Steve and his research fellow explored whether the colours in your home could make you happy. These days, Steve is also knee-deep in running his own startup, Colour Intelligence, which works with colour trend reporting in the fashion industry.

Our team had the golden opportunity to work with Steve and his PhD students to develop Visualist's proprietary colour detection algorithm, thanks to a Future Fashion Factory grant (more on this to come). After months of emails and video calls about K-means, Delta E (colour difference), and RGB codes, we caught up over email to chat about creativity and—of course—colour.

On specialising in colour research

I started with a degree in colour chemistry. Later, I moved into colour physics, colour engineering, colour neuroscience and colour design. For me, colour is such an inherently multi-disciplinary topic; people approach colour from all sorts of starting points but quickly realise that they need to stretch themselves beyond their starting point if they are to really understand colour.

On the intersection between science and art

More than half of my research is in the field of design. I really enjoy working at the interface between science and art or the interface between science and design because that is where you will find colour. The cross-disciplinary nature is the very thing that makes colour research so interesting. At my core, I am a scientist. However, how wonderful it is to work in a School of Design and be surrounded by creative people and the beautiful creative things that they produce.

On the 'colour' black

The question I get asked most often is: is black a colour? I have been engaging with the public for a very long time and I enjoy trying to answer questions that people have. In the 90s this was through something called FAQs; in the last couple of decades this was through blogs; and now, through podcasts. But the question about whether black is a colour keeps coming up.

So—is it? I define colour as a perception and I don't really discriminate between red, blue, white or black. So black is a colour; albeit one that has no chroma.

On dispelling colour myths

There is a long list of common misconceptions about colours. The big one is the idea that you can start with three colour primaries and mix them together to make all other colours. You cannot. You can make all hues but not all colours. Despite the fact that this has been known for at least 100 years, the misconception continues to be taught to pre-school children, to children at junior and secondary school, and even at universities. I am involved in a project called Colour Literacy to try to correct this.

On his favourite colour

I would say red's my favourite colour, though I also love pink and yellow. It’s quite unusual because if you ask people what their favourite colour is, the vast majority say a cool colour such as blue or green. However, I really like bright warm colours. The latest theory about colour preference is that people tend to like colours that remind them of things that they like. I am a huge supporter of Manchester United. Is that partly because they play in red? Or, do I like red so much because I like Manchester United? I don’t know.

On colourful socks

Before COVID, I used to mainly wear navy blue socks. But for some reason, I have started wearing really brightly coloured socks. My colourful socks are the most colourful thing in my home.

On his typical workday

I don’t do anywhere near as much teaching as people might think—I probably do less than one lecture a week. I mainly undertake research. I have a large number of PhD students in my group and I also have several research assistants working on industrially funded projects. It’s not uncommon for my day to consist of meetings from 9-5. These are meetings with PhD students, with the companies with whom we are working and with colleagues. However, the days I like best are when there is time for me to actually do some hands-on colour research. I really enjoy writing code. I enjoy it in the same way that, perhaps, other people might enjoy completing a crossword or a sudoku puzzle. It's challenging, but you know that all the solutions are there if you look hard enough.

The other thing worth noting is that colour affects so many industries that you never know when the next opportunity is going to come along; this could be an enquiry from a design company, a food manufacturer, a fashion company, an automotive company or even a tech startup. I like that unpredictability.

On winding down

Because teaching doesn’t really dominate my day-to-day job, the end of the semester or the non-teaching time (such as the summer) is not really very different to me than the teaching period. But I try to do other recreational things as often as I can. In addition to my drumming and writing, I play chess pretty much every day and I love watching movies or, more recently, the big Netflix shows such as Squid Games and The Queen’s Gambit.

On working with Visualist

The ideas I have about colour are somewhat disruptive. Although I do work with some very large companies, I was very excited to have the opportunity to work with Visualist because, from the first moment, I realised you shared my passion for colour and had aspirations to do things differently in a way that can bring about real change. I find working with smaller startups to be particularly exciting because you often have the drive and agility to make things happen.

On running a startup

Surprisingly, being an academic is not totally unlike running a small company, so it’s not as big a step as you might think. As an academic, I have a small team of staff I employ. I need to worry about how to ensure I obtain new research contracts to continue their employment in the future. I need to think about how to attract and retain talented staff. I need to worry about all of the things I need to pay the University for in order to carry out my research and keep things going. However, there are things I would like to do, to ensure that the ideas that I have generate the maximum impact, that don’t easily fit into the framework of how a university works. That is why I formed Colour Intelligence earlier this year. It’s not the first time I have run a small company. I also ran a colour company from about 1994 to 2006.

On drumming

In my spare time, I am a drummer in a covers band. We play a range of music from the 60s right up to stuff which is in the charts now. I guess being a professor is quite an intellectual process and then drumming is almost the opposite. Drummers are often the butt of jokes within a band. The drummer is often thought to be the stupid one; when the rest of the band are talking about which key they should play the next track in, the drummer is just thinking about what to have for dinner tomorrow. But it is the physical act of playing the drums that gives me the greatest pleasure. It couldn’t be more different to my day job.

On writing fiction

I also love writing fiction and I have published a number of books, mainly consisting of flash fiction (which is the idea of writing a story in a relatively few words). The older I become, the more important it is to me to be creative. I think it's about attitude, to be honest. Over the years, I have become more interested in my creative side and more confident in exploring it. Activities such as writing fiction or designing book covers are things I didn't think I would be any good at when I was younger. But now I have the confidence to try at least. For me, creativity is about expressing your personality. In science, the idea is that when you analyse data it shouldn't really matter who does the analysis—the outcome should be the same. But for some other activities, the outcome depends entirely on the person doing it.

On the colour of creativity

Purple.

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Edith Head once said, "You can have anything you want in life if you dress for it." If only it were that simple! Unfortunately, building a career in fashion is a little more complicated than slipping on your favourite outfit and strutting right on into Vogue's head office.

Although, that does sound like something Stephanie Irwin might try! Stephanie Irwin is a product designer at Farfetch and attributes her fashion career to the times she has edged out of her comfort zone and looked at things from a different perspective. Stephanie joined Visualist for a chat about her own progression in the fashion industry, and the advice she'd give those hoping to do the same.

Develop a creative identity

We're not talking about devising a one-word moniker for you to go by or trademarking a shade of red. A creative identity is a consistent sense of self, evident throughout your work. Begin defining your style by answering these questions:

• How is this me?
• What do I like visually (colours, textures, era)?
• What am I trying to communicate?
• How do I want to be perceived?

In the fashion world, you'll be inundated with new influences, new ideas and new working styles. Be attentive and ready to learn, but be sure to put your own stamp on things. Stephanie has spent years refining her tastes and preferences, but the process is infinite. Here's how to get started:

• Immerse yourself in culture and the arts. Drink up as much as you can to accrue a broad bank of references and interests.
• Ask critical questions about what you're consuming. It's all well and good saying 'I like that', but always ask yourself why. How can your conclusions inform your own work?
• Know what you stand for. Think about your core values and create work that honours those. Everything you create can be interpreted as a statement.

Individuality is your asset. Authenticity and originality in your work will serve you well.

Cast your net wide

It is easy to become obsessed with the glamour of the industry but the fashion industry is far more multi-faceted than the front-row of stylists, editors and designers. Explore the many roles on offer in the industry and pinpoint where you may excel. You can be an iOS engineer at a fashion company, a user researcher, or someone who writes copy for e-commerce and product descriptions.

Stephanie reflects on the two-step process that helped her find her place in the industry: first, find out what you're good at. Make a list of areas you excel in and special skills you possess, cross-check them with people you're close to—they may have new ideas to add. Once you're confident in your strengths, seize opportunities that allow you to combine those talents with your passion for fashion. Search for companies where your interests and assets can intersect. Connect with them on LinkedIn. Attend events, courses, engage in conversations—be open-minded and explore lots of different avenues.

Stephanie is more than familiar with the anxieties of not knowing your place in the industry. "I always knew I wanted to work in the industry, but I had this frustration because I felt like I could never find my place." However, Stephanie is now thankful for the time spent exploring her options. Entry level roles in fashion are becoming broader, demanding an increasingly varied skillset and extensive knowledge of the industry as a whole—the more experience, the better.

Optimise your internships

Fashion internships are a case of trial and, quite possibly, error. Use them to gain insight, network and trial areas of interest. Stephanie explains, "The purpose of an internship is to see if it's a job that you'd absolutely hate." After interning, always reflect on your experience:

• What did you like/dislike? Make sure you distinguish between the role itself and the working environment.
• Where did you excel? Acknowledge what you did well—how can you capitalise on these strengths? Identify areas that require improvement—how can you improve? Think online courses, extended reading etc.
• What else would you like to try? Were there areas you dabbled in but would like to explore further? Did you notice a branch of the company that you'd be interested in learning more about?

If you're trying to break into fashion, internships may seem like the holy grail. But we encourage you to know your worth and approach with caution. As Stephanie astutely notes, it costs you money to work for free. One of Stephanie's side projects, 'Your Fashion Career', is a platform dedicated to empowering interns and creating conversations surrounding the controversial 'unpaid internship'. Stephanie's thoughts: "People should pay you for your time. That's my controversial hot take!"

All that said, internships are not the be-all and end-all these days. Create your own opportunities for learning and networking. Whether it's a podcast, blog or Twitter account, build your own platform to demonstrate your personality and passion.

You are more than your CV

Sure, a killer portfolio will put you in the race, but it won't carry you over the finish line. Employers need to know that you're their type off paper too. Stephanie's trick for standing out from the crowd? Tell a good story. "Go to art galleries, theatres and busy cafes. Go to events and start a conversation with the person next to you. I know it's scary and awkward but that's where you find your stories." Practical experience is essential, but character speaks volumes. You want to build a biography that cannot be summed up in bullet points.

Don't count yourself out of an opportunity because you lack experience. Focus on what you as an individual can bring to the table. Often young people, especially women, shy away from opportunities because they don't check every single requirement listed on the job description. But Stephanie has a solution. "When I doubt myself or wonder whether to apply for something that is perhaps a stretch of my capabilities, I think: What would I do if I were a man? Usually, I end up applying."

Learn to love networking

"I was told by someone in my life that I would never get a job as 'I didn't know anyone'. It was disheartening but I thought, well, how can I change that?" Stephanie acknowledges that we may not all have industry connections, but is quick to clarify that that doesn't mean the door is completely closed.

Many of Stephanie's greatest career moves have arisen from cold emails, she has always operated on the 'don't ask, don't get' philosophy.Thankfully, it is easier than ever to contact industry insiders but, unfortunately, that probably means your contact has an inbox inundated with similar requests. Stephanie shares her tips on crafting a cold email that won't end up in the bin...

To whom it may concern

• Address them personally. Greet them by name. Do not send the same email to everyone in the office.
• Don't be generic. What did you think about their most recent project? Do you have a shared interest? Reference it. Prove you have done your research and make it clear this is not a copy-and-paste job.
• Choose wisely. Stephanie advises looking for someone who is high up enough to have influence, but also low down enough to actually reply!

Do

• Go with intent. A clear call to action is a must. Be upfront with what you're asking for.
• Keep it clean. Format your email well: use bullet points, clear spacing and appropriate paragraphing. Make it nice to look at and easy to read.
• Remember you're asking for a favour. Be polite, respectful and make your request as convenient for them as possible.

Do not

• Feign humility. Now is not the time for modesty! You need to prove your worth, explain why they should take you seriously and how you/your service will benefit them.
• Leave them guessing. Ensure these questions are answered: Who are you? Why are you contacting them? Why should they bother listening?

Keep in touch

• Build a relationship. Follow them and their work and engage with conversations they may start online.
• Share your work. Let them know how you are progressing, inform them of upcoming projects, invite them to events, remind them that you are driven and engaged.

The bottom line

Turns out, it's not what you know or whom you know! It is what you want to achieve, how you present yourself, what you have done and who knows you. Lay strong foundations for your career in the fashion industry with a good work ethic, genuine passion and confident demeanour.

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Find and connect with Stephanie Irwin on Instagram and LinkedIn

Here at Visualist, we use lo-fi to re-energise, increase focus and remind ourselves of all the internal tools that enhance our creative flow. Lo-fi music is proven to aid focus and enhance creativity, making it the perfect soundtrack to your creative work. Tune in for an insight into our favourite lo-fi creators and curators.‍

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Garbeo by Made in M

Made in M spent a day intentionally lost in Berlin, trying out his friend's new film camera. The resulting, rambling footage inspired the transportive sounds that came to be known as 'Garbeo'—a colloquial Spanish term referring to a short stroll.

Why we listen

With sounds of city life playfully littered between rambling keys and bluesy trumpets, Garbeo is an invitation into an undiscovered city. You're escorted down forgotten alleys and through bustling market crowds. Before you know it, you're laughing and drinking with the locals in a shabby backstreet bar.

Listen out for

Olhos. The perfect soundtrack to a wandering mind.

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Today Feels Like Everyday by Mama Aiuto

Ongoing isolation may have left you struggling to pinpoint when—or where—one day ended and another began. For those feeling drained and disorientated, Mama Aiuto provides a gentle, fleeting reminder of the beauty in the mundane.

Why we listen

Steady beats and familiar rhythms somehow combine with an impalpable twist. We tune in to shake up our perspective, put on our rose-tinted glasses and remind ourselves of all the little things that bring us joy.

Listen out for

Lax Incense. An opportunity to reflect on micro-pleasures present in everyday life, such as the sweet smell of incense.

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Ghosts Of The Floating World by Kalaido

Kalaido narrates a tale of spirits, divine beings and faraway lands, reminiscent of your favourite bedtime story.

Why we listen

Hypnotic melodies, juxtaposed with omnidirectional cosmic chimes, help our imaginations run wild. Think unexplained oddities in unexplored lands. Ever wondered what a lucid dream feels like? This might come close.

Listen out for

One Summer Afternoon. Spritely and enchanting sounds to appease the child at heart.

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Wild Mint Infusion curated by Visualist

The Visualist team concocted this herbal remedy to cure creative stagnation. Akin to the sharp awakening of an extra-strong mint!

Why we listen

We may be biased, but this skilful blend of restorative soul, infused with funky jazz, is guaranteed to keep you on your toes. This mix is pumped through the office as a mid-week refresher or called upon in times of inspiration drought. This is Team V's tried and tested pick-me-up!

Listen out for

Most Really Pretty Girls Have Really Ugly Feet. We cannot confirm or deny this strange theory, but regardless this tune is sure to bring your ideas to life.

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Falling by Kudasaibeats

A sincere recount of falling in and out of love... Join Kudasai on the all too familiar rollercoaster. Warning: may cause tears.

Why we listen

Heavy bass lines mirror fluttering hearts and leave us thinking of them—and all their charming imperfections.  At Visualist, we believe that whatever you're working on, it should come from the heart.

Listen out for

'A Night Together'. Lose yourself in memory and channel those messy emotions into your work.