THE BUSINESS OF BEING CREATIVE .
Martha Mosse
Director, Paul Smiths Foundation
Martha Mosse has built her career around helping creatives turn their ideas into realities. Now Director of Paul Smith’s Foundation, she works closely with early-stage designers and artists, delivering mentoring, business skills and practical support that can make the difference between a promising moment and a lasting career.
Before the Foundation, what drew you into this world?
Straight out of University of Brighton I was a practising artist. I had moderate success in this but quite quickly realised that I wasn’t cut out for that life. I have always been drawn to the business of art, and what I really enjoyed was facilitating others to make and sell work.
Paul Smith has been giving advice informally for decades. What changes when you formalise that support?
Paul is an inspiration to countless types of people, and I think that is, in part, because his approach is very human. In the programmes we’ve established, we work with the mentors to instil that ethos into their approach. There is a human aspect to it where we listen and respond to alumni feedback.
The Foundation is specifically focused on business skills, not creative development. That's an interesting position — most support structures talk about nurturing creative talent. What made you certain that wasn't what early-career creatives actually needed most?
They need a combination of the two! One feeds the other. I would also argue that solid business foundations will free up the headspace to develop creatively.
Over 170 applications came in for the first Fashion Residency cohort. What does that number tell you about what's missing for young designers right now?
Yes, we were only able to offer 4% of people who applied a space on this programme, which just goes to show that this sort of business mentoring is needed throughout the sector. We would like to grow the programme, and at some point, accredit it with an educational partner.
" Paul is an inspiration to countless types of people, and I think that is, in part, because his approach is very human "
You keep the Fashion Residency cohort deliberately small — why did you limit it to six designers.
In these early years we have decided place value on impact rather than reach, so that we could really focus on honing and the developing the programmes to be genuinely transformative. There is intention to extend our work into wider audiences, but only when we’re able to do so, well.
The first cohort left with things like their own e-commerce, their first stockists, IP agreements in place. Unglamorous wins compared to a runway show or a press moment — but do you think they're actually the ones that matter most?
Of course! Without proper business infrastructure you will not survive, hype will only last so long…
The Residency has now expanded to include an American designer. What does it mean for the UK’s reputation as a place that genuinely supports creative people?
In a small way, I think it demonstrates the vital place London and the UK hold in the fashion ecosystem as a place of innovation, brand building and early career support. Cohort 2 of The Fashion Residency are almost all internationals who have chosen the UK to build their brands. This is brilliant, and what we must all now do is create the infrastructure that can support their brand growth beyond early career.
The Sarabande Foundation was built from scratch in the wake of McQueen's death. What did that experience give you?
Working alongside Trino Verkade, the CEO, was a brilliant and intensely educational experience. Being part of something from the very beginning means you get to work across every aspect of an operation, from events, facilities, development, you name it. The energy and commitment of that time is still within me, and I hope with Paul’s foundation we can build something that is as truly representative of the Founder as Sarabande is.
" Without proper business infrastructure you will not survive, hype will only last so long "
Working closely with Paul Smith himself — what has surprised you most about how he thinks?
It’s not been a surprise, but I have admiration of his genuine curiosity for life, and attention to detail. We channel Paul in all that we do – a democratic approach to support and opportunity, respect for all and joy in work.
What does success actually look like for one of the designers you work with and how do you know when the Foundation has genuinely made the difference?
They tell us!
“The Residency is absolutely essential for emerging brands to survive in London… it saved my brand and pushed it to the next level; far beyond what I could have expected in such a short time”.
and…..
“If it wasn’t for the Residency, some of us would have closed our business several months ago, would be in much debt, or wouldn’t have been able to deliver the shows and collections we did…”
We’re publishing an impact report soon, so watch this space.
Looking ahead, what feels unfinished — either for the Foundation or for the wider conversation about how the creative industries look after the people coming through?
We have just started, and there’s loads more to do. We would like to open more buildings as studios and expand our mentoring whilst bringing in multiple disciplines to work alongside each other. We’d like to get the fashion business mentoring accredited and develop a system of peer-to-peer mentoring for alumni as they progress. We’re also now focusing on building out more commercial creative projects with partners like Tate, to better develop brands work in licensing and partnership whilst encouraging a more portfolio income approach to their businesses.
" Solid business foundations will free up the headspace to develop creatively "
You sit at an interesting angle to the fashion industry — close enough to understand it deeply, but your job is to look after the people inside it rather than make the clothes. Does that position give you a clearer view of what the industry gets right, and what it still gets wrong?
Absolutely not. Those working within the industry are by far the best placed to tell you what works and what doesn’t. This is especially true for small business owners who are obliged to know about and work across all facets of the brand from HR, finance, legal, operations, marketing and creative. The Fashion Residency programme has been created having spoken to lots of designers and mentors about what they need. The programme is also responsive to real life and real time issues, so we develop it based on feedback we receive from the mentors and participants against the sector’s changing landscape.
Paul Smith has always been proof that you can build something with genuine personality and commercial longevity at the same time. Is this harder to sustain now, or just harder to see?
Sustaining an independent brand is incredibly difficult both then and now. Paul is uniquely approachable and open, but you see plenty of designers who are building their brands on a strong sense of character.
Is there a designer, artist or creative working right now — someone the world hasn't fully caught up with yet — who you think deserves more attention?
The photographer Alice Poyzer who we supported through a Residency in the Paul Smith archive in Nottingham. Nominated by Julian Broad, Alice created an extraordinary body of work in response to the Residency and, while already recognised by The Observer, WeTransfer, FT and others, is poised to be catapulted more into the mainstream.
Fashion feels like it's in a genuinely exciting moment right now — Where are you seeing the most energy, and what makes you optimistic about where it's heading?
Perhaps I’m biased but there seems to be a genuine and growing passion in the global industry for better business skills and professional development. I have been delighted at how seriously participants in the Fashion Residency have taken the mentoring, asking smart questions in sessions on legal and finance as well as creative and truly making the most of the opportunity in terms of advice, pro bono support and network introductions.
Outside of the Foundation's world — the galleries, the studios, the showrooms - where do you go to feel genuinely inspired?
I tend to be most inspired through conversations with people. Friends and acquaintances in industry, foundation alumni, our brilliant board and team plus, of course, Paul.
Plenty of brands and institutions try to connect with people through storytelling and narrative. Do you think about the Foundation in those terms - as something with its own story, its own long arc?
We consider the Foundation in relation to Paul’s own long arc - a 56-year-old independently owned fashion brand is unique and remarkable. The foundation is a crucial part of his story, and we’re looking at being the best we can be, right now, but also how we can continue Paul’s legacy for many years to come.
Finally… Where is your SOMEWHERE GOOD?
Somewhere Good is anywhere and anything with my partner Ollie and the kids, who are one and three. Ideally adventuring in nature or seeing some art!
Credits.
@Paul Smiths Foundation (2026)
Words. Mick Wilson
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