Paul smith’s foundation fuels fashion design with residency program & tate collaboration

The Fashion industry’s next wave is being actively nurtured, thanks to the Paul Smith’s Foundation and a strategic partnership that’s blending emerging design talent with the iconic Tate Galleries.

Martha mosse unveils the foundation’s bold new initiatives

Speaking with Martha Mosse, director of the Paul Smith’s Foundation, it’s clear this isn’t simply philanthropic funding; it’s a calculated investment in the future of creative business. Launched in 2020, the foundation’s core mission is to bolster business resilience for emerging creatives – specifically Fashion designers – and their latest venture, the Fashion Residency, is a tangible demonstration of that commitment.

This four-and-a-half-year program, now underway, offers studio space and invaluable mentorship. Currently, three designers – Paolo Carzana, Karoline Vitto, and Yaku – are collaborating on an exclusive T-shirt for Tate Galleries, launching April 23rd. The genesis of this partnership stems from the foundation’s desire to provide these burgeoning talents with opportunities to respond creatively to art, a commercially viable project that’s paying them handsomely for their involvement. It’s a rigorous process, from initial commissioning to Tate’s critical review and factory production – a comprehensive learning curve designed to equip them for the realities of bringing a new product to market.

Mosse elaborated on the foundation’s operational structure, detailing plans for future cohorts and the dynamic between established and new designers. Supported by the Mayor of London, Projekt, British GQ, and the City of London Corporation, the program provides a robust 18-month business development experience, encompassing legal essentials, e-commerce marketing, and brand graphics. It’s a surprisingly practical approach, acknowledging the business acumen crucial for success, not just the creative spark.

“We’ve found that the legal sessions are consistently the most engaging,” Mosse noted. “Osborne Clarke, a key partner, provides a minimum of 30 hours of pro bono legal support each year, offering crucial contracts and safeguarding against common pitfalls.” The foundation’s bespoke approach, actively responding to each brand’s individual needs, has already yielded significant results, exemplified by Paolina Russo’s successful negotiation of IP contracts with major global brands.

The newly unveiled strategy from the BFC, spearheaded by Laura Weir, reflects a welcome prioritization of support. The ambitious goal of 70% success rates for graduates over three years is a refreshingly grounded metric. “It’s encouraging to see the specifics,” Mosse stated, highlighting the industry’s collective commitment to fostering sustainable, realistic businesses.

Paul Smith himself, retaining a remarkable 80% ownership of his brand after 56 years, serves as an inspiration. The foundation’s aim extends beyond design; it’s about cultivating a holistic understanding of business – operations, HR, manufacturing – equipping designers to navigate the complexities of the industry and, crucially, to remain employable beyond their own brands. The move to a new studio space, facilitated by a partnership with the Paul Smith’s Foundation, Culture Mile BID, SET, and Travelodge – with Travelodge investing significantly in a Liverpool Street redevelopment – underscores this commitment.

“Studio space is incredibly hard to come by and expensive,” Mosse emphasized. “But we’re committed to supporting our designers responsibly, ensuring they have a solid foundation as they grow, and recognizing that market rate in London will eventually become a factor.”

Interestingly, designers are exploring AI tools, with Harri utilizing Cloud3D for pattern cutting – a strategy underpinned by a distinctive inflatable aesthetic. The conversation around “AI slop” is actively being navigated, with a focus on copyright law and the need for robust policy frameworks. “It’s a constantly evolving landscape,” Mosse admitted. ‘We need to stay informed and be vocal about what’s not right.”

The swift departures of Mark Thomas from Carven and a new creative director at Courrèges underscore the cyclical nature of the industry. But the foundation's approach – starting strong, growing gently, and avoiding impulsive scaling – promotes a more sustainable model. “It’s about making smart decisions,” she concluded. “Paul Smith’s success is a testament to that philosophy.”