Josef Jammerbund es un director de eventos de gran éxito que ha trabajado con el Consejo de Moda Británico, con LVMH y, más recientemente, con el club privado para miembros Annabells de Londres. Josef también es profesor de gestión de eventos. Smruti y Josef hablan sobre todo lo relacionado con el desarrollo de productos, cómo presentar un resumen y convertir una idea en realidad y también cómo elegir un fabricante con seguridad.
Hello everyone, my name is Smruti and I’m from Supreme Creations, the home of Bags of Ethics. It gives me great pleasure in introducing a very old friend of mine, Joseph, who I’ve known for many, many years as a senior events and creative professional. Joseph, thank you so much for agreeing to be with us today. Can you tell me a little bit about your incredible background and some of the brands that you’ve worked with?
Course, thank you so much for this lovely introduction. So my name is Joseph. I’m an event producer and lecturer. I’ve worked in the luxury brand events industry, fashion industry for about 20 years now. So really, whereas Smruti and I met is the British fashion council where I was head of events for four years, and I was in charge of running London Fashion Week, the Fashion Awards, London Fashion weekend, as it was known at the time, I then moved on to become a freelance consultant. And I’ve worked with Cartier since then, I’ve worked with Chanel. I’ve worked with Google dance events for the serpentine galleries. I’ve done actually many events over the past few years, with Annabel’s the private member’s club in Mayfair. And also most recently I’ve been lecturing in all things, event management.
The London College of fashion and also…
London College of Fashion, yes absolutely.
Yeah, wonderful. So as our audience can see, you’ve got such an incredible roster of experience. And it’s just such a privilege to, to talk to you today about, you know, our work together was around how we could help take, you know, branding, which was digital, and sort of move signage around London Fashion Week and London Fashion weekend and the Fashion Awards and bring it to a sort of very basic, but quite impactful product. And I think we were doing some tote bags, as well as some other gifting with you. And I’ve got some of the products here, but what I’d love to know is how, as an events professional, you would sort of execute a creative brief that the brand management team or sort of marketing team would come up with and then put it towards you know, collateral merchandise that you would be giving out.
Sorry can you repeat that question?
Do you want me to talk about the process?
I’ll talk yeah, talk about the process. So let me start that bit again. So we’ve been working together for…No, no will start again. What I’d love for, you to tell me Joseph is how as an event professional you normally work with a creative brief that you get from your marketing department, and then transition that as part of the creative process on merchandise collateral to bring the event to life. So I’ve actually got some of the tote bags that we did historically. So this was one of my favorites actually the sort of chevron print, the chevron print with the race print and it was just such an incredible print.
Such good quality as well I think it’s the design was very striking or is very striking. And I felt like it really lasted as well and actually this this was translated from design that was on then you know, we were building this tent structure in Somerset House. So, actually this was a sort of a wraparound of the tent as well as it was translated onto invitations into the show space. So this was sort of an extension of the creative and I think this is a really good example of you know, because there was really three of us in this kind of, you know, in this process there was obviously you guys, it was us, you know as the sort of the client and then we also had the designer coming up with the designs which we then had to in a way translate into marketing materials and merchandise. So really, you know, we all kind of did this hand in hand and it was, it was a really great collaboration between everyone and sort of you know, we looked at various different fabrics and you know, you sort of talked about the race print and obviously, we looked at you know, a range of samples. You know, it’s I always think sort of think of when we put these bags together it was, it was, well first and foremost it was about the design and it was the quality of the materials so the quality of the cotton that we use. We look at a range of different materials but then also we look at the handle size, you know, do you carry it like this? Do you carry it in your hand? How you, how long the handle is for example? Also how wide is the bottom part? You know, how much can you put into the bag, so all of those different things are consideration but also, you know, things like colour, colour ways, logos, you know. It’s, it’s, it’s obviously about the design, it’s about the positioning. But also, I think this wasn’t just a, sort of a corporate gift, you know, this was, it was given to a very fashion conscious audience. And so, these are still highly coveted items. And, you know, they sort of go back many, many, you know, we talking in fashion, we’re talking seasons. So they go back many, many seasons. And I think it’s really, it’s really interesting to see, you know, how many are still around, you know. I could be on a bus somewhere randomly, and you know, person is carrying, you know, a bag from, you know, Spring Summer 2014 and I look at him like, yeah, that’s one of mine. One of ours.
It’s so exciting, isn’t it, and it’s this sort of actually, you know, how you describe the process is beautiful, because it is a very creative collaborative process. You have to respect the designer, you know, Nicholas Kirkwood is renowned for the chevron print, but then you have, you know, your corporate sponsors, such as Vodafone and Samsung here. And you know, how do you how do you incorporate everyone’s branding without making it so loud and, and busy. But also, you know, these bags are spotted, you know, people are packed with them. People are, you know, influences that kind of love to show that they’ve been to London Fashion Week, by carrying a tote. You know, we always called it, the walking billboard. And you would see people going from show to show, but this was the kind of signature that was moving with, with your guests. So it is an incredibly collaborative process, it’s always challenging, it’s always very time sensitive. Um and the..
Points of difference between the seasons, because, you know, this is sort of its very monochrome, you know, it’s very striking print. But, you know, we’ve done multiple color ways, which, you know, there’s, there were always challenges around. Or how many colors can we use? How many colors can we afford, you know, what looks good? You know? And also, how does this sit with our sponsor colors. So, you know, there is a very kind of strong design elements within this, but also, there are challenges around you know, how big is the sponsor logo, you know, is it the top of the bag, is it at the bottom, is it on the inside? All of those different things. So, you know, it is about creating a beautiful product, but also, you know, it serves multiple purposes, you know, and there are various different stakeholders involved in this and everybody needs to be kept happy. And I think that’s a process that we have to manage, you know, we have to keep the designer happy, you know, we have to keep the corporate partners happy. You know, we had to make sure we create a really beautiful product that, you know, kind of, you know, that sits well, alongside all the other bags that we’ve created. So it’s sort of continuation of that journey really.
Yeah, and as a as a creative production house. And as our kind of manufacturing supply chain, we would give you our constraints, hopefully not too many constraints, and you know, you have to hit the right price, you have to hit the right timing, you had to hit the right materials. And obviously, sustainability is such an important part of our business. And the Bags of Ethics, values of people, planet and product. And I think what was wonderful was that all of the elements had to come together, but still look outstanding, not some sort of hippie dippie product, it really had to be fashionable.
Absolutely, and I think, you know, this just the word parameters, I think within is very important. And what I learned very quickly is, is that it’s really good to give creative people to give designers parameters, and I really like it. Because, you know, if you can tell them, you know, these are the dimensions of the bags, you know, this is this is what a handle is and you know, and, but also give them the options of you know, for example, this same bag could have been done in white stitching, you know, but in places so, you know, always or a contrast in color, you know, could we have a blue stitch because that or a red stitch, you know, because we were working with Vodafone at the time so all of these little things. They’re all sort of you know, subtle differences you know, that could hopefully help us to hit some of those markers with the brands, and you know, maybe create a point of difference and also just create you know, it always comes back to creating a really beautiful item.
I agree. I agree and talking of which I’ve got two more that I’d love to show everyone.
This is like going back in the time.
It is, is like going back and this is this sort of like going through the archives I feel like I’m at the V&A Museum with my art works.
Are you gonna test me on season and designer?
No, so well, this was, this is an incredible project actually when Sunglass Hut became the principal sponsor, and Gareth Pugh was tasked with creating all of the collateral. And this is actually you know, the brief was around punk and Britain and feeling proud to be punk and British, you know, and so this is actually Gareth’s face that he then did the self-paint and then translated that into an artwork. So this is the back of his face.
And this is the front.
Um, it was amazing. And then we had an internal pocket I remember because the sponsor was Sunglass Hut.
Sunglass pocket, I remember that.
Little sunglass pocket yeah. It was a sort of a little pocket. And I’ll give you some interesting stats actually. So this product was a sort of gift with purchase for Sunglass Hut as well as a product given away at London Fashion Week. And the uptake in terms of footfall into their stores just because this one bag, it’s quite incredible. There’s an optic of 10% of footfall, which is marketing numbers, absolutely bonkers really. So this was, this was one of my favorite projects. And we did a luxury version of this and a vegan leather for all of the VIP clients who came in. And then as you talk further, this is I think, I’m not sure if you were still at the BFC then but this was for mother pearl. Absolutely stunning print. And Amy from other parts of look, can we like, improve? Can we just change the handle to be quite sporty? So you have this beautiful sort of feminine floral print, and then you have these incredibly fun kind of sports straps. And that’s when we started to put the bags of ethics label on the outside, because sustainability became such an important part of the messaging.
Does it have the same print on both sides?
It was not the same print on both sides, no.
London fashion week festival, okay.
And what was interesting is that actually, so this looks like it’s a black bag.
Yes it does.
It’s actually. It’s actually a white bag.
Printed all over. So there’s a lot of ink on this. So really.
But also some of the, that’s kind of part of the design process is, you know. Do you use a white base material? Or do we use do we use a black material and then you know, you have this sort of slightly raised print, which I mean, I’m sure I’m not using the right term.
No, you are.
But it feels slightly leathery. When you touch it, it has this kind of, sort of slightly, you know, this textured effect, which I think is really beautiful.
Yeah, and actually, when you’re working in an industry where you know, the devil really is in the detail and a creative professional will look at every single element. So you know, you are exposed if your product is not fit for purpose, you know, it comes down to not just do the handles fulfill the strength that they need to carry around this product. It’s you know, what’s the detail in the stitching, the print is the ink going to rub off, you know, until all of these elements from a production point of view have to be really on point because we I think know that our audience is a really premium audience, is a really sort of specialized in understanding really high quality detail. So I’d love to know, when you work and choose with, you know, being an event, you have to work with a variety of partners, what are the sort of characteristics that you look for in a supplier or partner?
I think mutual trust is extremely important to me and you know, I say mutual trust because it sort of goes both ways. I think it’s, you know, we all have to look after our suppliers because we’re only really as good as our suppliers that we work with and we surround ourselves with. To execute, you know, our ideas and you know, to fulfill the brief. I think it’s important to work with people who sort of share the same, you know, values in terms of attention to detail. You know, you want people who they offer competitive prices. The other thing is becoming more and more important, I’d like to say, you know, it’s the most important thing, but it’s sustainability, which I know is core of your businesses, is to be sustainable. And the events industry historically has been an extremely wasteful industry, you know, and so I think there is much more a focus of, you know, how can we be more sustainable, creating sustainable products and also just, you know especially, you know, coming back to the bags is creating something that is sustainable, and also that last.
Long lasting, I think is important. And also, I think that’s why we still see bags from you know, from 2012/ 2013. Still, you know, all around London because they last, which I think is important, you talk about the handle strength but it is, you know, things like that are really important because you can also then, you can wash them, some of them, and I think it’s important.
Yeah, and I think I think what’s very interesting, as a supplier when we’re competing against other manufacturers or companies is that we are very passionate about, you know, we’re geeky about the detail. We’re geeky about the fabric weaves, we’re geeky about the prints and the ink types. And sometimes it’s very difficult to translate that, you know, in a basic quotation, but actually it’s so important and if, you know, we’ve worked with clients like Dior and LVMH, and obviously, London Fashion Week, you just can’t slip up on those details.
You can’t and also think it’s important people want to know well, where was this bag produced. And you know, you’re so descriptive, and you’re so vocal, you know, about the people, you know, your suppliers, you know, that you then work with, you know, in turn, and you know, to actually produce these bags. And also, I’ve always found that with you guys, it’s, um, it’s the speed of delivery, you know, not just, I think your team is highly responsive. But also, you know, and that sort of, you know, in terms of data communication, but also, you know your timelines in terms of producing things. Because, you know, we talk about this creative process as if it was a linear process, and it isn’t, and it never is, and, you know, and yes, there are. You know, there is there was, you know, Supreme Creations, there was British Fashion Council as a designer to try and, you know, make this happen, but this is not a sort of linear straightforward process. If there’s a lot of back and forth, and then, you know, we would then also have to, you know, bring in the partners, and there’s various different levels of sign offs, and, you know, their personal preferences and different objectives to be hit. So it’s a sort of, it can turn into a slightly complicated process, but also, you know, having someone like Supreme Creations has always been amazing, because you guys are very flexible. And also, you know, you deliver on time, and you know, it’s sometimes been a little bit close to the wiring getting the bags to fulfillment, because the bags didn’t just need to be printed and delivered they, in at certain times.
They need to be packed.
Exactly, because you, you’re holding up one of the London Fashion weekend bags, or London Fashion Week festival bags, those then have to be filled with product. And we’re not just talking about, you know, a few dozen bags, we’re talking about 1000s of bags. So, you know, this is a really big process. And so, you know, timing, I think is really important. And then I think maybe we’ll add that on to the attributes of a supplier is, you know, as time management’s, and, you know, just sort of the trust that you will deliver, when you say you’ll deliver.
I think, you know, as an events professional, you really are a master of operations, and it’s really operations at a strategic level, and then operations at a very, very basic level, you know, which is so important, you know, how are you going to pack a lipstick into a bag, which is given by a sponsor who wants to promote it in a particular way, you’ll do a time study about how long does this take to put in the bag, what’s the extra packaging? And, and, and I think that’s why having you on here is very helpful for our audience. Because events is, is very, very difficult. And based on timing, based on pricing, based on all the details. So if you were to give, say, three top tips to anyone who’s hosting an event, or who wants to enter the events industry as a profession, what would you suggest a sort of good sort of checklist of qualities to have?
Well, I’m gonna pick up on what you just said, in terms of, you know, timing, money, that sort of thing. So I think, you know, you need three things for a good, really good event. One of which is you need a great idea, you need plenty of time. And also, you need a decent budget, and in my experience, and I’m sure that you’ll agree with me on this as you never have all three. We’re never usually short on fantastic creative ideas. And, you know, there’s usually a challenge around budgets, and you’re trying to deliver the most amazing, spectacular experience on a shoestring. And usually we managed to do that. But also, the other contributing factor is, you know, not having enough time. And sometimes, you know, and it’s kind of goes against what I’m saying, but actually sometimes if you don’t have you know, lots and lots of time, you know, everyone is kind of forced to make a decision.
Focus as well.
So I think, you know, look at those three things. So time, money and ideas, I think that’s important and you know, and trust that you’ll only ever have to and you can still deliver an amazing event. The other thing is, you know, make lists, I think, you know, everyone who works in events is usually a list maker. I’m a list maker, I’m a list maker in my personal life, you know, and so I think it’s important to make a list and actually try and enjoy your events. I, you know, if there’s one thing that I would have done, or I wish I’d done differently is actually kind of try and enjoy what I’ve done a lot more because I was so focused on the detail, I was so focused on making sure everything’s right, making sure everyone else is okay, that actually I very rarely kind of took a step back and go actually this is amazing. I mean there have been incredible moments, you know, being in the Royal Albert Hall, you know, moving to barista car park. All those different experiences, you know, and seeing audience reaction is always, is always a favorite when you open a show space. And you know, people walk in and they go: oh wow, this is amazing. But actually never really taking the time to kind of, you know, just take a step back and go actually, this is fantastic. So when you do, you know, do run your own events I think try and enjoy it as much as you can.
I think those are, those are three big piles of wisdom that you shared with the audience. And I just want to close off by saying thank you so much for sharing your tips. And actually showing you know that the sort of really nitty gritty bits of the production process that we’ve experienced together. Because sometimes we can forget just like you said. So thank you very much, Joseph, for your time today.
If you have any parting comments, please, please let us know.
Thank you, it’s been an absolute pleasure to chat to you. I’m we’re actually working or we have been working recently again together on a corporate project with a branded item. So that’s really exciting. And so yeah, I think it’s been it’s been wonderful to chat to you Smruti, and it’s really great to be in touch again, and we look forward to working with you more.
Absolutely. Perfect. Thank you.
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