Industry Insights with Chris Amfo 

Our styling workshop with Chris Amfo at the Fred Perry Head Office, was a chance for  aspiring and emerging stylists to learn the ins and outs of fashion styling, while workshopping on Fred Perry’s unreleased collection! So, we thought it’d be a great opportunity to sit down with Chris and get some insights into the fashion industry down on paper. From beginning on the shop floor at A Bathing Ape to styling for CircleZeroEight magazine and countless established brands such as Nike, Tommy Hilfiger and more. Here we find out what the journey looks like from someone entering the industry from retail, to establishing themselves as a full time freelance stylist. If that’s a path you’ve been interested in, it’s worth the read. 

Can you recount the early steps of your career journey, particularly for our audience of emerging talent?

For me, it began with retail. My first job in London was for a brand called A Bathing Ape, which at the time was probably one of the most sought-after streetwear brands globally. They were the leaders, so it was very exciting to work in their standalone flagship store, the only one in Europe at the time. Many people were interested in the brand at that time, so even working in a store like that, I met many different people like photographers, stylists, musicians, and so on. That was my first job in town and my first introduction to fashion.

Did your experience at A Bathing Ape shape your introduction to the fashion world?

Yes, it did. While working at A Bathing Ape, I met some of the editors for i-D. I was about 18 at the time, and being featured in a magazine like that was really cool. It opened my eyes to the world of fashion, styling, and editorials. I also met many other people and felt like more than just a sales assistant in the store; it felt like I was really representing the brand because it was a small, independent company.

What was the transition from retail to making this your full-time freelancing?

I was at university for a bit but didn’t complete it. After university, I worked in another store called Dover Street Market, another Japanese brand, as you know. That was a great progression from working somewhere like A Bathing Ape, which was more streetwear-focused, to a multi-brand store where luxury brands were represented. In a store like that, you had the main designers come in and talk about their collections, so you had to really know your stuff.

Initially, they put me in the deep end and had me learn how to call in products, but then they gave me free rein, and I was 20 years old at the time. I was still working in the store while also doing other freelance work, which mostly came from recommendations. That experience was important because it gave me work experience.

 

I think some people don’t necessarily see the value in retail, but you show how important that is!

Absolutely. I think it’s so important. It’s a really good way to learn your craft because you live it every day. You get to know the products, how they feel, how they fit, you build great product knowledge, communication skills, and learn how to sell. Many people who are successful now started out working in stores.

Moving into the projects you’ve done, both commercial projects and editorials, I’m wondering how you approach these two different styles?

With commercial styling, you’re working for a brand, and they have their own objectives and aims. They often provide a brief, and there are parameters you have to work within to achieve a certain end result in their eyes. Whereas with editorials, it’s more about your own style and vision. You come up with concepts that you turn into a story. Magazines rely on advertisers, so sometimes you need to include certain brands to satisfy them. There’s also the aspect of getting to showcase your own vision and what you’re truly about, working with photographers, stylists, makeup artists, and so on.

What does that conceptualising process look like for you? 

It can start from coming across an interesting character or an interesting sports person that you’ve seen, which you’d like to feature, or maybe discover an interesting subculture that you’d like to share a story about. It could also stem from experiences like an exhibition you recently attended, something historical.

What about some of the more logistical sides to the role that people wouldn’t think about?

If it’s a magazine shoot, then the process starts with contacting the PR’s to get the latest looks from brands. We often do it by the look-book for the collection. Once everything is confirmed, the products are sent to our location, and it’s our responsibility to ensure they’re returned in good condition and on time.

Could you tell me about one of your favourite projects that you’ve worked on?

One of the most memorable projects was for the first issue of Circle Zero Eight. I did a story based around equestrian sport, featuring a rider named Lydia who represents Jamaica. Shooting in the countryside with horses was a unique experience, and it’s something I often reference in my portfolio.

Do you have any tips for emerging stylists or fundamental things they should know?

It’s important to study and immerse yourself in the field. Building contacts and relationships with brands and PR’s is crucial, as is organisation and communication skills. It’s a lot of work, and you have to be patient, but if you really love what you do and persevere, the rewards will come.