Art Director & Condé Nast College Course Leader shares how to transition from Stylist to Artistic Director...
Sophie Stevens : Course Leader at Condé Nast College
Sophie is an established stylist and art director with over 20 years experience in creative industry. She boasts an impressive client list and breadth of experience, having styled huge names such as Kylie Minogue, The Saturdays and The Spice Girls. Alongside her successful styling career she has art directed campaigns and editorials for big clients such as Marks & Spencer, L’Oréal, Cosmopolitan Magazine & John Lewis. Sophie provides new insight into what her multi-faceted job entails and where to start if you want a top-level job in creative industries.
by Hannah Tappin
In June last year, I was fortunate enough to meet Sophie (via zoom!) whilst undertaking the online Fashion & Image course at the Condé Nast College in London, as she is Course Leader. The course was fantastic and I highly recommend it to anyone with an interest in the fashion industry and wanting to learn about iconic imagery production in the past, present and future. There is so much to be learnt from Sophie, especially due to her diverse industry experience which spans from advertising, design, film art directing, press, consultancy and as a regular radio & television trend forecast contributor.
Luckily for you, in this interview with Sophie shares her full career journey, top tips about the Fashion Industry as a seasoned professional and ends with ways you can get noticed when starting out and breaking into fashion.
Hannah: Thank you so much for taking time to chat. So to kick off the interview, I’d love to trace back to where your fascination with fashion & creativity began, what was your first memory of styling and/or of seeing fashion image?
Sophie: I grew up with a very fashionable Mum, who always dressed amazingly! She would always have the most fun jewellery and I loved watching her do her make-up. This led me to being fascinated by fashion and clothes from a young age. She would always have Vogue & Marie Claire and glossy mags around.
There was one memory in particular that she talks about, she used to have a friend over once a week for coffee and they had these large coffee cups and saucers and when they left there was always bright red lipstick round the rim and my mum would come back into the room to see me holding the coffee cup and pretending to be them drinking coffee and reading Vogue!
It was magazines for me, they were the initial pull and then I would read the masthead and look at all the different positions. It was definitely magazines and my mother that first pulled me to fashion.
Then I used to design clothes, I used to play a game called the fashion wheel which you could turn around and create different outfits and I also loved dressing myself. I was very opinionated about what I would and wouldn’t wear, so fashion has always been strong within me.
“I remembered getting quite a knock-back from teachers saying ‘I’m sure lots of people want to do that, but it isn’t a real job”
Then I carried that throughout school. I remembered getting quite a knock-back from teachers saying ‘I’m sure lots of people want to do that, but it isn’t a real job’. The main thing that helped me was that I had great parents which pushed me to pursue my passion. My mum was also very creative so she understood and supported me.
Hannah: What was your career journey from starting off, to becoming a stylist to then diversifying into various creative job roles? Was the transition easy? Do you think young aspiring creatives should be prepared for a unpredictable journey into their dream job?
Sophie: In terms of my career journey, I did my A-levels but I knew I wanted to go into fashion. I then did a foundation course for a year prior to University, because at the time it was either fashion design or journalism, but this course offered fashion promotion and illustration. The course covered lots of aspects from forecasting, journalism, languages and many more but to get into it I undertook the foundation course. I also tailored everything into what I wanted to do, so I did a fashion show as my final piece.
“I think some useful advice is if you do know what you want to do earlier on, try to tailor everything you do to fit your goals”
I think some useful advice is if you do know what you want to do early on, try to tailor everything you do to fit your goals. I then went to university and part of the degree was to undertake a work experience placement. I went to do mine at a magazine, which is where everything started. It was a standard two week placement. They then asked if I would come back and help out when they were doing trips, which I did as much as I could in order to gain experience.
From that, I obtained a really good reference from the fashion editor at that time, who knew an editor at another magazine who listed a job which I applied for with her recommendation. I then stayed in magazines for about 14 years, before going freelance.
Hannah: How was your experience of transitioning to freelance?
Sophie: There are definitely benefits and challenges that are associated with freelance. We did the clothes show live every year, which we presented on stage. A challenge with that was a lot of my team dreaded the idea of presenting live. I also had a radio programme which I would do every week which required me to derive new content. All of which led to me being quite visible, I knew this was an element I had to do as head of my department. When I went freelance it equipped me with new skills and the ability to take on different jobs as I had done more.
“I would say it’s vital to open yourself up to as many different aspects of the job that you can and try everything even if it scares you. Even if you think you would hate it, as you don’t know. It gives you an extra skillset under your belt”
I would say it’s vital to open yourself up to as many different aspects of the job that you can and try everything even if it scares you. Even if you think you would hate it, as you don’t know. It gives you an extra skillset under your belt . This links to Covid which has disrupted many stylists and makeup artist alike, who have been hugely impacted by the pandemic. As agencies and shops and production is closed, models can’t be touched, making the job very difficult. The fact that I have another skillset in terms of teaching online, helped me to have another outlet. It’s vital to move with the times. You can’t possibly be prepared for the unknown Covid-19 pandemic which hit us all, however sometimes crisis helps you to re-evaluate your job. In fact, some colleagues and friends have mine have left their jobs to do something else, due to no longer be able to survive on a lower workload in which they had. One friend is an MUA who now works at a bookings talent agency. It is difficult within the industry regardless of the added element of a global pandemic.
Hannah: Yes, I can imagine. I recently saw Charlotte Tilbury has created a virtual reality 3-D online makeup store to simulate in-store experiences. Perhaps this virtual digital move could be the future for makeup artists.
“Being creative and working with new people and doing different jobs gives you a quick brain to switch and adapt. A lot of PR’s are now doing virtual press days, and do the same event but take you round virtually. Illustrating there a ways around of doing many things”.
Sophie: Yes, One of my friends set up tutorial lessons online. I have seen a rise in tutorials and creating content at home. Finding an outlet to continue to do what they do in a new way. Being creative and working with new people and doing different jobs gives you a quick brain to switch and adapt. A lot of PR’s are now doing virtual press days, and do the same event but take you round virtually. Illustrating there a ways around of doing many things. So, Yes, Challenging Times!
Hannah: When you are working alongside new talent/ assistants, runners or get approached by young people aspiring to break into the industry what personality attributes do you think can make someone a stand-out with real potential, impact and memorability?
“I think a lot of people want fashion jobs but lots of people equally don’t have the right attitude. Eagerness, willingness to learn”
Sophie: I think mainly being visible and keen. Do whatever needs to be done. Be an excellent time keeper, be early. A lot of the skills that standout to me are the ones I shared myself especially when starting out. How I was taught, is now how I would teach. My old fashion editor and I would say, we were taught the old way. I think a lot of people want fashion jobs but lots of people equally don’t have the right attitude. Eagerness, willingness to learn. It’s also tricky as often work experience and assistance is associated with limited money, and often there is a lot to do for the experience. But I would say make yourself visible, supportive but not too much in someone’s face.
“Remain alert and pay attention to what’s going on around you. That puts you in good stead. Good organisation and personal skills are vital when being thrown together with strangers. Often that’s what I pick up on”
I think the courses at Condé Nast, help give students awareness of what people need. Styling Kits, initiative, thinking head about the next shot. One step ahead. Think like the person you are assisting. Each creative often works very differently anyway. But have a good approach and be really engaged. Remain alert and pay attention to what’s going on around you. That puts you in good stead. Good organisation and personal skills are vital when being thrown together with strangers. Often that’s what I pick up on. I have lots of people around me a lot.
Also, a lot of people can be scared to approach the person in charge ,as they perceive them as not wanting to be bothered but I would say take a chance. If someone asked, ‘is there is anything extra you need, I would like to learn more’. If you present yourself well, it’s likely I would give someone the opportunity to come on a later shoot . It’s simple but not everyone has that within themselves.
“I can always tell if someone truly loves fashion. It’s obvious to see. It’s hard work and long hours and if someone thinks they are above the fashion cupboard you can tell quite quick”.
Every place and person is different, so also gauge your crowd. Let them know. Always go above and beyond with favours. It is always the small details that make you memorable, that care and attention. I can always tell if someone truly loves fashion. It’s obvious to see. It’s hard work and long hours and if someone thinks they are above the fashion cupboard you can tell quite quick.
Hannah: Yes, I think that also partially answers my next question which was the skills and qualities for working and interning at a fashion magazine.
“Everything you do is a learning opportunity. So absorb it like a sponge. If you find yourself with nothing to do, be proactive”
Sophie: Yes, it all comes down to approach. The fashion department and cupboards can be mundane and tiring. I have had people go to lunch and never return. Some crazy behaviour. What they don’t appreciate is that this is where you learn labels, brands, create contacts and see the clothes PR’s. For example exposure PR look after Levi’s and Converse, so it all depends on how you look at it. Ideally, the fashion system should appeal to you in every way. Everything you do, is a learning opportunity. So absorb it like a sponge. If you find yourself with nothing to do, be proactive. If you see someone else struggling, go out of your way to help.
Hannah: So, Team level thinking?
“The industry very much requires a collective effort, editors need designers who need photographers who are supported by stylists that need assistants and so on. When you begin to shoot, it is all collaboration”
Sophie: The industry very much requires a collective effort, editors need designers who need photographers who are supported by stylists that need assistants and so on. When you begin to shoot, it is all collaboration. Have foresight, even at a senior level, I assisted my fashion editor on a trip. That’s what you do. Don’t view it as hierarchical.
Hannah: As a top level creative with vast experience in trend forecasting, what trends do you think have been driven by, created in or reinvented during Covid-19?
“Absolutely, overriding amounts of leisurewear and lounge-wear has become a huge trend”
Sophie: Funnily enough, I have just come off a call with a brand discussing this topic. Absolutely, overriding amounts of leisurewear and lounge-wear has become a huge trend. I art direct for a client that is very dressy, a party aesthetic. We were literally just talking about how during lockdown they sent items to bloggers and influencers to shoot at home. They were discussing how they had to completely shift their stock as it wasn’t selling due to less opportunity for people to go out. It switched to amazing pj’s, lounge and streetwear collaborations, mixing with loungewear and labels. Obviously brands and PR’s will have drops in advance prior to Covid that still have to happen. I know COAST have done a capsule collection of 10 dresses, however I wonder how that will sell due to lack of demand. Especially, when big scary things happen, people often are drawn to comfort security and feeling cosy. Obviously, you have dress up Friday, zoom parties. I still wear my lipstick under my mask as it makes me feel better! Even though you look like the Joker, as it’s spread everywhere!
“You need to move with the times, be reactive”
You need to move with the times, be reactive. The quicker brands can do this, via e-commerce. Obviously issues remain for bigger collections, forecasting ahead, ad campaigns, drops, all of which are usually planned in advance.
Also, the mask situation required production lines to churn those out, with matching bags and scrunchies.
Hannah: Yes, I recently came across a necklace gold chain detachable mask, which featured as an article as a new trend in British Vogue.
Sophie: Exactly, then its hand sanitiser compartments in bags. People despite safety, still want to look fashionable. Recently, colleagues were laughing at me for having a matching mask to co-ordinate my outfits, but it has now become a fashion statement in my looks. With regard to the beauty industry, masks has also increased reports of skin issues, acne and dryness resulting from wearing masks. How to accentuate eyes, as that’s all people see.
Hannah: With reference to coping with a turbulent year, What has been the best piece of career/life advice your ever received?
“One statement I reiterate a lot, is that no one will ever work as hard for you as you will”
Sophie: One statement I reiterate a lot, is that no one will ever work as hard for you as you will. That was centred around when I became freelance and was trying to figure out whether to get an agent. I think there also seems to be a generation of people expecting things to happen for them, which is vital for them to know. It is so true, that you have to rely on yourself to build yourself.
Hannah: Yes, I often hear about people describing their ‘Lucky, Big Break’ but it seems clearer to me, a lot of hard work behind the scenes is required to have that.
Sophie: I think it can come down to luck and a bit of who you know. But, in order for them to do so they must feel like you are worth recommending. They have got to have some positive association with you. Even though looking back my own transition into magazines seemed easy, prior to that, I had put all the work in by working, assisting and commuting into London from Oxford every day. I was always the first in and the last to leave, unpaid. I did that for a long time, which enabled me to get the reference job and recommendation. Of course there are exceptions but legitimately to gain experience you have to prove yourself. When creatives recommend new talent, their performance is also a reflection of them.
Hannah: Yes, I think now more than ever persistent hard work is the key to success, to survive and thrive in a pandemic especially. As a freelance stylist, art director and Conde Nast College lecturer, what does a typical works week look like for you?
“Essentially my work is a real mixture. Some clients can confirm the day before which means I sometimes don’t know what I will be doing the next day but others like Condé Nast confirm more in advance. I personally like the mixture and variation which was one of the reasons I went freelance”.
Sophie: My days are very varied. In this time, currently due to covid there is less variation, as only some clients are working or are adjusting. In a pre-covid day to day, it could be that I work on pages for magazines, writing and compiling lectures for courses or looking for ideas with a brand to progress their e-commerce. There can be lots of mundane paperwork, invoicing and tax. Also updating social media, keeping up with work and looking for new work. Essentially my work is a real mixture. Some clients can confirm the day before which means I sometimes don’t know what I will be doing the next day but others like Condé Nast confirm more in advance. I personally like the mixture and variation which was one of the reasons I went freelance. The days are very different. Initially, due to loving order and structure I thought I would hate freelancing but now despite the instability I like the challenge of the unknown.
Hannah: So we’ve discussed the day-to-day, I’d love to chat about your personal style as a stylist. What inspired it? And how do you think it represents about your identity and inner self?
“I think lifestyle and age also dictate how your taste evolves. Fashion trends come and go, but also your style often reflects your interests and age”
Sophie: I am very detail oriented which means I like my style to be groomed and considered. When I worked with the magazine I was known as the glam one. I love dresses, gowns and beautiful images. Each person on set had their niche; the rock-punky one, sporty one, sounds a bit like the Spice Girls! But we all had a different speciality and preferred style route. I think my style goes hand in hand with my lifestyle of being a stylist, where I go to parties and events. As I have matured, I have noticed my style to be more classic, cool and Scandinavian style dress, but vintage classic also.
Day-to-day, depending on my mood my style can also vary. If I want an extra boost on a work day, I bring out heels, structure and glam whereas if it’s a casual day it could be dungarees and converse. Even if I do opt for casual, I’ll often style it with a smart camel coat over the dungarees. There is always a way to streamline and create a put together look.
Hence, I always have my red lipstick on.
Hannah: Yes I always associate you with the red lip, which you often wore at lecture’s at the Condé Nast College.
Sophie: I think lifestyle and age also dictate how your taste evolves. Fashion trends come and go, but also your style often reflect your interests and age. I always love the old movie Glamour and Art Deco eras. I think being inspired by that is why I own so many dresses, I don’t think I own a pair of trousers!
Hannah: Wow! Not one pair!
Sophie: I have dresses and occasionally dungarees and jeans. Basically I am dress girl!
Hannah: Being inspired by old archive imagery and old Hollywood actresses, I think many women can relate to this.
“I think changing my looks and alternating my style daily is also another job in itself!”
Sophie: There is so many films, Hitchcock Movies and of course icons like Grace Kelly. Although I think I do drive my fiancé mad with the amount of bags and coats I own! I think changing my looks and alternating my style daily is also another job in itself!
Hannah: Yes, I guess as a stylist you must present yourself impeccably as its your job.
“you are essentially a walking advert for what you do! People believe in you more. This is why its key to visually represent what you do”
Sophie: Absolutely, you are essentially a walking advert for what you do! People believe in you more. This is why its key to visually represent what you do to the finest detail, even tiny elements like your nails being freshly painted. I also like at those tiny details when I look at a person, I want to see the whole package.
Hannah: Within the Fashion & Image course, many vital topics were touched upon such as sustainability, representation/diversity, futuristic trends and how the industry has changed for the better. What changes in recent years have you been most proud to see the industry adopt & what aspect do you believe needs more work?
“Sustainability and inclusivity have been massively highlighted recently which is great to see. I think Edward Enninful has done a great amount with British Vogue since joining”
Sophie: The big ones of sustainability and inclusivity have been massively highlighted recently which is great to see. I think Edward Enninful has done a great amount with Vogue since joining. In my era of working, it was Kate Moss and skinny which was the trend. People were so so thin. I found this an issue I had to concentrate on when I was working. I really considered when picking models not to pick anyone unhealthy. I was conscious that what I put out was being looked at by someone young and vulnerable and you have a responsibility to do that. Often girls would come to casting from Paris, unhealthily thin and I would ring the agency to send her home. I think at the time, girls were booked for too many jobs in too many places and exhausted by fashions cycles. That has definitely improved which is great to see. It is awful to see someone breakdown, not eating and sleeping. Therefore, that has always been in area I really wanted to see working differently.
“Ideally with inclusivity I want it to progress to a stage where it’s no longer talked about and instead accepted as normal/standard. I hope disabilities, colour, race, age and size in the future won’t need to be brought up or focused on as they should be normality”
Ideally with inclusivity I want it to progress to a stage where it’s no longer talked about and instead accepted as normal/standard. I hope disabilities, colour, race, age and size in the future won’t need to be brought up or focused on as they should be normality. There is definitely more work to be done, as with sustainability.
In projects I have been working on currently, a lot of people are mentioning Stella McCartney for her work. But sadly this is the only example they are picking up on. This goes to show there needs to be more emerging designers and brands with a similar ethos. It needs to become widespread so it is more affordable for people. Often people can’t choose sustainable items due to limited budget.
Hannah: I would agree with this! I think within my generation we are becoming increasingly conscious of buying sustainably but as you stated a lot of green brands are of high price point.
“All the different hiring of gowns, renting – I think is a great idea on all levels. I think lockdown has increased clothing rental, vintage and up-cycling items”
Sophie: It is great to be highlighted and more considered but it needs to be mainstream. All the different hiring of gowns, renting – I think a great idea on all levels. I think lockdown has increased clothing rental, vintage and up-cycling items. I think lots of great developments but equally there is a lot to be done.
Hannah: Yes, I think recycling and up-cycling clothes and furniture has been a positive despite the challenges of lockdown. On the subject of challenges, what has been the most challenging in your career and to counteract it what has been your happiest?
Sophie: My happiest would be shooting Kylie for a cover. I was a huge fan even dating back to when she was in Neighbours and remember buying her first hit when I was only 11! That for me, even to this day, was a highlight moment. When it is someone you love so much! Old-school Kylie particularly during the 90’s is what I love most.
The most challenging is the time and exhaustion from working so hard. The pressure can be huge when dealing with huge deadlines at fast speed. Sometimes, even being sick on trips and having to still work when you are ill. Having that stamina and mentality sometimes is hardcore. I remember having the flu whilst trying to style.
Hannah: Wow, that sounds hard! This links to my next question actually, where often I think people see fashion as their world and give everything to it. How do you establish work/ life balance in your career, how have you overcome/avoided burnout?
Sophie: At the time, I was so busy it felt like I didn’t have a choice. I think that was why a lot of people left or went freelance. I think longevity of extreme hard work can also depend on the title in which you are in, the support you have and a strong team. Admittedly it can be too much. During my time working for a weekly magazine, we produced forty pages a week, I was editing half the magazine a week. We would shoot every three days. People did burn out. During really busy periods, I wouldn’t take all my holidays. For me it was tricky but the turning point was freelancing, that stopped me burning out. I had breathing space to pick and choose jobs and be my own boss. It is something you can do, when you are more established or build yourself up that way.
Hannah: Yes I think freelance has becoming increasingly popular as a way to work, which Covid-19 has accelerated further. To direct and style must have high levels of creativity and self-assurance in your decision making. How do you maintain strong confidence, self-belief and passion for what you do?
“There is always doubt and you can always be unsure of things, but in terms of certain jobs you have to trust your instinct. Remember you wouldn’t have been booked if others didn’t believe in you”
Sophie: I think it comes from experience. There is always doubt and you can always be unsure of things, but in terms of certain jobs you have to trust your instinct. Remember you wouldn’t have been booked if others didn’t believe in you. In terms of pitching, you learn more about what others are looking for and what you have to offer them. Passion for me has remained the same. The industry is different but I still love it. It is a wobbly industry, fashion is also very subjective. Your opinion can differ from others. You have to believe you are booked for reasons. Look at the bigger picture, your background, previous work and how you can use this to make a brand cooler. Consider what you can bring to it. Keep an eye on the external environment how things are changing, evolving so you can always stay aware and maintain relevance. Be aware of what’s new. With creativity I believe it is within you and someone will want and recognise that or they won’t. You constantly learn. Things often go wrong or don’t work out, but you still learn from that.
“Keep an eye on the external environment how things are changing, evolving so you also stay aware and maintain relevance. Be aware of what’s new”
Hannah: Some great insights thank you Sophie. This leads me to our final question, If you could give a golden nugget of advice to your former self who has just embarked on her first fashion magazine work experience what would you say?
“Don’t ignore any aspects as you never know what the future holds. Embrace change, as often what’s new will thrive in the future. Embrace the opportunities deriving from the world”
Sophie: I would say be more open to change. Be open to new possibilities. Don’t be wary of digital. Don’t be steadfast in an industry that isn’t like that. Be really open to everything new and developing. Get on board with skilling yourself as much as possible. Don’t ignore any aspects as you never know what the future holds. Embrace change, as often what’s new will thrive in the future. Embrace the opportunities deriving from the world.
Hannah: So in Summary, embrace opportunity and be open minded! Excellent advice! That’s the end of my questions. Thank you so much for taking time to interview, I am hugely grateful. To see Sophie’s impressive work portfolio click here.