I am a forward thinking Project Manager with a wealth of experience working in the fashion industry. Currently, at creative marketing agency RART, I am a first class leader with excellent organisational and time management skills. I thoroughly enjoy a challenge. My desire to succeed at the highest level makes me extremely hard working. I am trustworthy and reliable, under pressure or not I shall perform at the highest level. Within budget, I am able to ensure that all projects are delivered to deadline at the zenith of quality whilst utilising all resources.
I manage experiential marketing projects for RART’s entire portfolio of high end clients. I facilitate multiple projects simultaneously; from garment customisation to the production of an event. In organising the weekly schedule of the entire team, I always ensure that the appropriate team members are booked in and appointed the correct tasks across projects. At RART, I set up a new method of inputting all financial data using Xero accounting software. I create estimates and budgets based on a worst case scenario that include detailed design, labour and material costs to ensure every project makes a profit. I calmly and efficiently deal with changes and suitably substitute resources where needed with cost and quality in mind. From start to finish I managed the entire design and construction process for heritage footwear brand, Dr. Martens’ three day Autumn/Winter 2016 collections launch. In personally having had regular communication with the Dr. Martens marketing team I gathered all the information needed from the client in order for RART’s directors to create the concept and design for eight separate stages. I ensured that these showcased Dr. Martens full range of collections with the brand aesthetic in mind, whilst referencing the current marketing campaign. I gained experience in risk plan management. I also sourced, handled and purchased raw materials for the launch ensuring it was delivered to the appropriate team member within good time. I directly sourced and communicated with all suppliers, contractors and manufacturers in line with budgetary constraints. I regularly held meetings with the client to discuss the extent to which their wants were being met and managed the scope of the project based on any changes required. I frequently supervise projects with international sportswear brands Nike and Rapha where I source, book and communicate the efficient and cost effective use of resources to the highest quality within outlined deadlines. By regularly communicating with these clients I have been able to secure further projects with both Nike and Rapha in the form of garment customisation and digital marketing experiences. I have been the lead on procuring projects for RART including the aforementioned Dr. Martens collections launch and a creative marketing event in association with the British Fashion Council at Library, private members club.
In my role as Production Assistant I was training for the Production Manager role. Here, I managed the whole team, some of whom I recruited including; in?house pattern cutters, interns and external manufacturers to ensure that the highest quality of product was made in an efficient time frame. On a daily basis I would problem solve; under budget I sourced materials for sampling and production with consideration for the Holly Fulton aesthetic, ensuring all materials would be delivered on time. I managed and input detailed material costs into Zedonk business software. I have vast experience in pattern cutting and garment construction, making and me an expert in project management for any fashion related projects. I personally carried out quality control in order to establish any potential need for changes in materials or construction by liaising very closely with factories and various buyers. I also ensured that orders were all shipped out effectively and within strict time constraints to meet the demands of the buyers.
Within this role I managed the sampling and production of multiple collections at the same time. I effectively communicated information between the two studios. This meant supervising the pattern cutters and a large team of interns working on garment construction and alterations. I explained details, ensuring everyone had tasks to carry out on a daily basis that were carried out efficiently and to the highest possible standard. I quality checked samples from factories with whom I frequently communicated with. Where needed I communicated the need for amendments under immense time and budget pressure and was able to effectively find solutions for any production issues. Seasonally, I ordered materials at the best possible price according to schedule, noting down detailed information regarding cost, handling fee, marginal benefit and price fluctuations in Zedonk. I also controlled, paid and recorded all the intern labour costs. Prior to catwalk shows I oversaw the preparation including; ensuring samples were perfectly finished, sourcing last minute resources, organising dressers and I looked after the models.
Under direct instruction from the Creative Director, I managed multiple projects including the sampling and production of Aggugini’s Autumn/Winter 2012 women’s collection and the costume design for the English National Ballet’s production of ‘The Rite of Spring’. Daily, I lead the team of interns, fabric manufacturers and garment construction factories in London and India. For every person involved I provided detailed instruction on how to carry out; hand embroidery, pattern cutting and garment construction/alterations. I planned each project; prioritising specific production needs, I also defined the project vision through research to enable the director to design the collection. I liaised with manufacturers to ensure production and delivery fell in line with Aggugini’s deadlines. I regularly lead fittings for the English National Ballet’s costume production to ensure every dancer’s costume fit perfectly according to functional needs. I also input on the production of the headpieces and make up. As well as sourcing factories for sampling I brought in my contacts from pattern cutters to embroiderers to produce the collection. I worked alongside the director to calculate the most effective use of resources within the budget. This included the cost of administration, collection materials, labour, factory costs, make up artists, promotion, lighting and the catwalk show space. I ensured everyone who helped with preparation close to the show knew of and carried out their responsibilities effectively. Starting out as an intern I was promoted to a paid position after two months.
Kingston University, London BA (Hons) Fashion (2:1) Kingston University, London Foundation in Art and Design (Merit)