Peek into the creative world of our fashion tutors, who spill the beans on ‘fashion frenemies’, career breakdowns and breakthroughs, and how to bag that dream role.
Andrea Gentili
Product Developer previously for Carolina Herrera, Oscar de la Renta Armani, Max Mara and now Timberland, ex Parsons’ NYC student.
Communication is crucial in your role. How do you navigate working between designers, merchandisers, and factories?
I navigate in rough waters… with a keen eye for detail and ensuring the product aligns with our brand’s standards. Sitting between designers, merchandisers, and factories requires a blend of clarity, collaboration, adaptability and compromise. For Designers, you have to translate creative concepts into practical designs. For Merchandisers, you have to align with commercial goals… and then factories, your “frenemies”, that will have to ensure smooth execution, understand expectations in terms of product, cost and deadlines.
Tell us about your creative story, from student to career success?
My creative journey started with a fascination for the arts and fashion, which led me to study Sociology of Arts and Literature. I then moved to New York to study at the Fashion Institute of Technology. This was a transformative period in my life.
I became an Intern and then Junior PD at Max Mara Fashion Group, where I worked on knitwear product development. My first real taste of the industry. I loved turning creative ideas into tangible products, and quickly realised that this was my ‘’calling’’.
I then had the incredible opportunity to join Giorgio Armani Operations in Hong Kong – another big city. Leading the knitwear development process there was a pivotal moment in my career. The dynamic environment of Hong Kong and the global perspective of Armani enriched my professional and personal growth.
In 2017, I moved back to Europe to be based in Como (this time a small city), to join Timberland as the Senior Product Manager for Global Apparel and Bags. This role has been a dream come true, overseeing the development of seasonally created products from concept to production.
My journey has been a blend of learning, leading, and creating, and I’m excited to continue this path, making a meaningful impact in the industry.
What’s one mistake you made early in your career that turned into a valuable learning?
I made the mistake of underestimating the importance of technical knowledge a bit too late. This taught me the critical importance of a solid background in materials, pattern making and product “construction”.
First interviews are nerve-racking. What’s one unexpected but powerful move someone can make to stand out in fashion?
Bring a tangible example of your work – and do it in English! Additionally, being prepared to discuss the story behind your work: what inspired you, the challenges you faced, and how you overcame them, can highlight your problem-solving skills and resilience. This approach shows that you’re not just a PD, but a professional who can bring value to the team.
NYC hustle vs. Italian elegance – how have these two worlds influenced your creative and professional DNA? How does life in NYC and Italy compare, fashion-wise?
Living and studying in New York City was “the” experience. The hustle of NYC taught me the importance of agility. It was a place where ideas were born and executed speedily, and this instilled in me a sense of urgency and a drive to act without hesitation.
Italy is the place of timeless elegance and meticulous craftsmanship, synonymous with quality, attention to detail, and a deep appreciation for artistry. A slower pace that allowed me to refine my skills and develop an eye for detail. Italian firms taught me the value of patience, precision, and creating pieces that stand the test of time.
Comparing life in NYC and Italy, fashion-wise, NYC is all about rapid innovation and bold statements, while Italy emphasises tradition, quality, and understated sophistication.
Who would be your dream muse?
I do not have a name as my dream muse might be like someone who embodies authenticity, self-awareness, and confidence. This person would be someone who is truly themselves, respects others, and carries a strong sense of self-assurance.
What’s your go-to outfit for the office/studio?
Something I feel comfortable and empowered in, usually monochromatic in neutral tones and sustainable: pieces made from eco-friendly materials, such as organic cotton or recycled fabrics.
Salome Wilson
Fashion designer with experience in big-name brands including Northface, Woolrich and Tommy Hilfiger. Focusing on sportswear, she has a Masters in Menswear from The Royal College of Art, London. She is developing her own Brand Agogic.
What’s the moment that truly lit the fire for you – was it a breakthrough or a breakdown?
There have been a couple of moments where I have made a strong choice of a specific path.
Firstly, deciding to study art at college, then fashion design. After my first design roles, a new interest in sport and performance grew from my love of long-distance running and training. This led to specific research and portfolio work, eventually working at The North Face, which was an ambition of mine.
In 2019, a desire to make my own choices and create a point of view around performance, sustainability through longevity, and style saw the start of my own brand, Agogic.
A breakthrough in some ways, but it was certainly a breakdown of previous structured roles within a company: carving a new path as an entrepreneur.
You push boundaries in textiles – what’s the wildest material experiment you’ve attempted, and did it bomb or blow minds?
Whilst at the RCA in London we had great facilities to work with textiles – most memorable was embroidered and appliqué on tweed with sequins, crystal and shiny upcycled dress fabrics as part of our tailoring project. It was certainly a statement, but I wasn’t entirely comfortable with the final result!
Style vs. Function: If you had to sacrifice one for a collection, which would you kill off – and why?
Function is fascinating, and the technology that can bring it forward is fascinating, but style and beauty are what make things desirable and evoke emotion. You really need both, but if I can go for 45/55 and apply beauty with a high function, that is really interesting.
Who challenged your vision early on, and how did you prove them wrong – or did you?
Ike Rust was my Menswear tutor at the RCA. He pushed us to find our own identities and challenged me to focus while also experimenting. He was honest but so supportive.
The menswear scene is shifting fast. What trend needs to die, and what do you think is about to explode?
Tastefulness and shades of beige! I would love to see a return to maximal expressions of colour, silhouette and sheer fun.
If we raided your studio wardrobe right now, what piece screams ‘Salome at work’?
I like to be quite practical, especially if working in my own environment – a jumpsuit or dress in utility materials in an oversized cut; or easy layers that can work with a nice accessory.
What’s a film, book, or doc that messed with your head – in a good way – and still fuels your creative thinking?
Not so much a book or film but a place, having easy access to the Tate Gallery Liverpool really opened my mind to art and experimentation. I loved the permanent collection and also getting to see visiting exhibitions like Louise Bourgeois’ Spider was so exciting.
Joanna McGinn
Senior Strategist at Global Trend forecasters at WGSN, Editor and Lecturer in Global Fashion System and Trend Forecasting at ILA
What’s it like working at the place that shapes global trends?
It’s mind-blowing and inspiring! WGSN is a place powered by people with a huge amount of creativity and intuition, so there are always new, mind-blowing ideas being brought to the table. I hear about tech innovation or the next big eco material before most people, so it constantly pushes you forward. We have a lot of influence on how trends develop, which also brings a big sense of responsibility.
Finding a role in trend forecasting is tough. How did you land the job?
I was lucky to start out when online forecasting (and WGSN) was just in its infancy, but growing rapidly in the early 2000s. Globalisation was fuelling more rapid logistics and lead times – brands wanted faster and more accessible trends information. I stood out because I had 3 languages under my belt – this was a game changer for me. My first few years involved reporting on trends from trade shows and fashion weeks in Italy, France and Spain.
How has your career path changed over the years?
I have always tried to keep my career varied and challenging. As well as my work at WGSN, I’ve been a freelance writer, editor and lecturer in various colleges. Teaching and mentoring are one of the most rewarding aspects of my work – it’s so inspiring to learn from the next generation of future thinkers!
Where is your happy place, in terms of fashion and creativity?
I’m lucky to have travelled all over the world for work, but the most energising place for me was Brazil. Taking part in a Rio Carnival parade (dressed as the ‘Internet’, no less) was one of the most memorable moments – as was getting to samba with Valentino himself! Rio was full of small studios where creators were making beautiful products – hidden spots where you rang a bell to enter the shop. There’s a real energy now to the fashion and design in Brazil – they have embraced sustainability and contemporary aesthetics without losing their soul.
What’s the next ‘big’ thing in trends?
We have been reporting on the backlash to digital and technology for a while – calling it the Renaissance of Real. People want real-life experiences, tactile products and sensorial immersion, having had so many years of online overload. This is an ideal moment for brands and retailers to invest in the thirst for craft, handmade, personalised and IRL experiences.
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