The industry runs on who you know. Here's how to know them.

Together with Paul Smith’s Foundation, we ask industry mentors the practical questions young designers are often left to figure out alone.

Everyone tells you that fashion runs on who you know. Almost nobody tells you how to meet them, or what to say when you do. What actually makes an application worth opening? Is it better to go through the proper channels or email the designer directly – and how many times before you stop? Can you get into buying or PR without a degree? Does HR decide anything at all when it comes to creative roles? And how do you turn a business card, a party, or a polite reply into something that resembles a job?

For Ask a Mentor, we have partnered with Paul Smith’s Foundation to open up some of that knowledge to a wider community of students, graduates, independent designers, and emerging creative businesses. Founded to better the business skills of creative people, the Foundation runs in-depth business mentoring programmes in fashion and art, connecting early-career people with experienced industry figures who can offer the kind of practical, specific guidance that is often difficult to access early in a career.

This third instalment brings together Matthew Mumford, Head of Creative at Paul Smith, responsible for the brand’s public aesthetic across film, photography, shows, events, and exhibitions, with previous experience at J.W. Anderson, Sunspel, and Calvin Klein; Alexis Barnes Wright, Head of HR at Paul Smith, who leads on hiring, training, and people development across the business; Ida Petersson, the former buying director of Browns and a long-standing champion of emerging talent, who now co-runs the brand strategy agency Good Eggs and sits on the board of Filippa K; and Mahalia Chang, Style Editor at British GQ, who joined from Vogue Australia and GQ Australia after a career across Elle, Harper’s Bazaar, and Marie Claire. So, let’s get right to it.

“One of the best buyers I ever met was a maths graduate.” – Ida Petersson

Getting in the door

Asked by Poppy Wilson: What makes an application or internship email request stand out?

Matthew Mumford: For me it comes down to clarity. Clarity in your own vision, and clarity in how that vision applies to the person you’re sending it to. Standing out isn’t about flowery language, over-designed portfolios, headshots, or a hard sell. It’s being able to glance at an application and immediately get the message, with the opportunity to then dig deeper if I need to. The three Cs: clear, concise, confident. This can be as desirable, maybe more so, than experience or talent. Talent is available in abundance, and your experience is what it is.

Focus your time on understanding what they’re looking for, acknowledging that in your application, offering a relevant response, and strategically giving insight into how your brain works. Character is often considered as well as the strength of a portfolio or CV. Consider that you are taking up someone’s time, and every word, image, and pixel needs to serve a purpose. If it helps, you can also approach it like you would an essay: point, quote, comment. Transferring that mindset into an application is a helpful way to stay focused. Less but best always stands out.

Asked by Luka: Should I be contacting people – designers, PR – directly rather than applying through proper channels?

Matthew Mumford: If you’re applying for an advertised role, then I would always advise applying through the proper channels. Feel free to exploit any mutual contacts, way-ins, or recommendations, but I wouldn’t rely on a direct email.

If you’re not applying for an advertised role and just want to get yourself out there, then being proactive and reaching out to people innately encourages action. However, if this is going to be your approach, then you need to have the backbone to keep going even if you only get silence. Often the silence isn’t reflective of anything you’ve done or who you are, so it shouldn’t be taken to heart. Ultimately that perseverance will pay off, but you need to be able to survive the ride first.

I’d always consider frequency and volume. Sounds obvious, but it’s easy to forget, and before you know it you’ve either left an email for too long or spammed an inbox. Albeit arbitrary, I personally work to the rule of three: three business days between follow-ups, stop after three no-replies.

Asked by Shan: Does HR play a big role in putting forward candidates for design positions?

Alexis Barnes Wright: HR plays a supporting role, but we’re not typically the ones making the final decisions for design roles. At Paul Smith:

• HR will often manage the initial longlist. We review applications, identify a broad pool of relevant candidates, and pass a shortlist through to the hiring manager.

• Creative leaders drive the decision-making. Heads of Design and their teams are best placed to assess portfolios, technical skills, and creative fit.

• We can advocate for strong candidates. If we see potential or transferable strengths, we may encourage teams to take a closer look, but we don’t override creative judgment.

• We focus on fairness and candidate experience. HR ensures the process is consistent, inclusive, and well-managed.

So while HR isn’t the gatekeeper for creative talent, we are an important partner in shaping the process and helping candidates get visibility.

“If someone comes back across my path, I’m usually more likely to remember whether they were nice to work with than the thing we worked on together.” – Mahalia Chang

Changing direction

Asked by Eli: How do you land a proper job after doing years of internships and short-term contracts?

Alexis Barnes Wright: It can feel frustrating when you’ve invested years building experience without landing something permanent, but that time is rarely wasted. Internships and short-term roles often give you a breadth of exposure that others don’t get early in their careers. A few things that can help:

• Step back and define your direction. If you’ve done lots of different roles, think about what you actually want to be known for. Employers are often looking for clarity and intent.

• Translate experience into impact. Instead of listing tasks, focus on what you contributed to, and what changed or improved because you were there.

• Stand out in how you present yourself. Fashion is a creative industry, and your application should reflect that. Being individual, thoughtful, and a bit more creative in how you tell your story can make a real difference.

• Be visible and stay connected. Many opportunities come through networks. Keeping in touch with people you’ve worked with, and letting them know what you’re looking for, can make a big difference.

Asked by Ciara: What’s the reality of pivoting into buying, PR, or merchandising without a degree or experience?

Ida Petersson: Realistically, without any experience or degree at all it is extremely difficult. However, you don’t need a degree, or even specifically a fashion degree, to have an amazing career in our industry, and the fashion experience doesn’t need to be in the genres you’re trying to break into. One of the best buyers I ever met was a maths graduate; another worked his way up from the shop floor at Selfridges and never studied at university.

The key, if you’re not taking the classic route, is to show initiative and a willingness to roll up your sleeves. An example of a non-traditional route is to take a shop job in a small boutique where the staff get involved in all aspects of the business, from content to buying and range planning. At many stores the manager or assistant manager plays a vital part and is included in buying and other critical decisions, and even gets to go to buying appointments and travel abroad in some cases. In many of these stores there is every opportunity to drive, implement, and execute PR, marketing, and social strategies from the ground.

For merchandising specifically, having a strong mathematical, numerical mind is absolutely key, and there is sometimes even a maths test as part of starting this career, so before you embark on this journey consider your skills in this arena, because it will be a must as you progress.

Another route to consider would be to apply to work during the selling season for a brand, including helping out at presentations, shows, and events, or for a multi-brand showroom, as they very often need extra help for market. If you speak several languages you will be particularly attractive for these employers. Sadly there are not a lot of internships anymore in buying and merchandising, but sales would give you a good opportunity to build relationships with editors, stylists, and buyers, and the opportunity to consider whether it is a career you actually want. Buying is not for the faint-hearted, and PR is certainly not a nine-to-five job.

Finally, I have myself promoted and moved people across, and have seen personal assistants and coordinators pivot and move across different departments internally as they prove themselves a valuable addition to the fashion team. Most of all, once you’ve got your foot in the door – whether that is in the department you have your eyes set on or not – make sure that you apply yourself, and when opportunities to step up or be part of projects come along, show that you’re willing to go above and beyond, time and time again. Being dedicated and appreciating that you sometimes have to get your hands dirty to get ahead is crucial in these competitive environments.

Asked by Anneli: What are the tips for landing an offer in marketing and PR as an international intern?

Alexis Barnes Wright: Breaking into marketing and PR can be competitive, and doing so as an international candidate adds another layer, but it’s definitely possible. Some practical tips:

• Understand the local context. Spend time getting to grips with the market you’re applying into: brands, media landscape, cultural nuance.

• Lean into your international perspective. Being from a different country is a strength. Global awareness, language skills, and cultural insight are valuable in fashion.

• Be clear on logistics early. Whether it’s visa requirements or right to work, being upfront and informed helps employers feel confident progressing you.

• Show initiative and creativity. Marketing and PR roles value ideas, so your application should feel considered and individual. Sharing campaign ideas or referencing work you admire can help you stand out.

• Build relationships. Networking is key in this space; connecting with people in the industry, even informally, can open doors.

Ultimately, employers are looking for potential and energy as much as experience, so showing curiosity, adaptability, and a point of view can go a long way.

“You don’t have to take yourself too seriously, but you need to take what you do seriously.” – Matthew Mumford

Building a network that lasts

Asked by Marina: How do I start building connections while I’m studying fashion design?

Matthew Mumford: Being genuine and authentic is your best way to make connections. Like-minded peers, people who share the same interests, ambitions, and work ethic – that’s what you should be seeking out. Whether it’s parties, halls, fellow classmates, getting some work experience, or connecting digitally, all these are great, but only if you are genuine.

Proactively surround yourself with people who inspire, drive, or challenge you. Connections will come and go, but genuine and meaningful connections will be with you for a lifetime. You don’t have to take yourself too seriously, but you need to take what you do seriously. If you want to succeed, then I believe you need to commit yourself to the work. Lay strong foundations early in your career so that you can take out dividends later. Build up trust and be reliable with any connections you make.

Asked by Erin Duxbury: What’s the best way to transition connections into concrete opportunities?

Ida Petersson: As a starting point, understanding your connections’ personality, their businesses, and their ways of working will give you a good idea of how to take the next step towards furthering that first connection. The more research you can do – in a non-stalker way – the better placed you’ll be to work your angle.

Outside of this, I’m always a firm believer in the saying “if you don’t ask you don’t get”. It’s of course important to be polite and considered in any asks. In our industry, time is often the most precious commodity, and most of the people you will be trying to connect with have very little of it, so be smart with what you ask for. If you can figure out a way to present yourself or an opportunity as a win for them, even better. Physical presence can make a huge difference, so outside of digital networking, attend as many industry events as you can. Consistency usually pays off.

Asked by Marti Appendino: What does it take for a fashion editor to become successful?

Mahalia Chang: The path is different for everyone, but for me, I think there’s so much value in perspective and kindness. Fashion is expression, and expression is about point of view – finding a way to bring your eye, your voice, your background into your work is great. Not only does it make you stand out, but it also helps you stay connected to your work. Fashion can be a slog. Make sure you keep that tether.

Secondly, the best people I have ever worked with in the industry are always the kindest. Always be nice to everyone you work with, from the juniors to the seniors. Not only because that’s the nice thing to do, but because you never know who will go where eventually, and who you’ll work with again. If someone comes back across my path, I’m usually more likely to remember whether they were nice to work with than the thing we worked on together.