CAREERS CLINIC
Chasing Terry
Mansfield
When I was
asked to shadow the media oracle that is Terry Mansfield for a day, I was
delighted; but couldn’t help envisaging hours of sitting in on numerous
media-related meetings, drinking my weight in tea, and generally being a bit
flustered by the formality of it all. However, on arrival at the Royal
College of Art MA exhibition opening, I was quickly disabused of these
deskbound notions. Wiry-framed and easily flitting from conversation to
conversation, his verve is perceptible from a mile away.
As we peruse
the ceramics collections at the show, we talk about our mutual experiences,
although my C.V. is rather paltry next to his, which spans over 50 years,
taking in the roles of President and CEO of Th
e National Magazine Company,
and as the first non-American to be a member of the Board of parent company
The Hearst Corporation. Now in his own words “promoted beyond the level of
influence”, Mansfield still acts as a consultant for the latter.
Restless by
nature, he insists that the key to enjoying a long career in publishing is
to make sure that you “keep busy, and see what mischief can be made.” And
so, today I will learn about the importance of nurturing Britain’s young
creative talent from its strongest advocate, whilst finding opportunities
for frivolity along the way. I’m certainly glad that I’m wearing my most
sensible shoes.
Taking in the
artwork at some speed, I still manage to garner some of the casual pearls of
wisdom that he offers up to me and the other young hopefuls. He advises Anna
Lomax, a video installation artist who would like to turn her vision into
commercial success to “never say no to anything. People in the creative
industries tend to have a lot of self-doubt, but this point of your career
is the best time to experiment. ”
After a brief
introduction to designer Bruce Oldfield, we find ourselves back on the
street again. “Always arrive early at events like this, because it is
quieter, people can give you more of their time, and they’re happier to talk
to you.” He checks his watch before asking “Have you ever been to the
National Magazine Company offices before?” It seems like mere moments later
that I find myself scuttling along the South Kensington underground platform
after Mansfield. Obviously, public transport is the fastest way to spread
mischief across London.
Taking the
lift up through the Broadwick street building, he introduces me to all of
the friendly staff, gleefully claiming that I am spending the day following
him “as a punishment.” We start at the top floor, chatting with the
Cosmopolitan sub-editors, and editor Louise Court about the magazine’s
continued focus on work and relationships, before whizzing through to
Country Living, which Mansfield conceived 25 years ago.
As the pair of
us speed through the five floors, it becomes apparent that he has maintained
a relaxed familiarity with the individuals working under all titles,
inviting one Editor to his village’s dog show, before enjoying easy banter
with the Harper’s Bazaar ladies about the importance of complimenting a
woman on her choice of shoe.
After a
fast-pace tour through the other titles’ offices, including Esquire, Good
Housekeeping, and House Beautiful, he says of his continuing ties with the
National Magazine Company: “Whenever I do come in, people are always pleased
to see me. I’ve always worked the floors, and made sure I know who everyone
is. The important thing is to never interfere.” He also apologises about not
being able to take me to the other building, home to titles such as Prima
and Men’s Health, but that we have to rush back to his Sloane Square office
for a quick PR meeting.
Pat, his
secretary, has been working with him for nearly 20 years. Billed as the
other half of “the double act”, she is as calm as he is restless; holding
the fort during Mansfield’s various field trips. She greets us at his desk,
laying out the press clippings about GFW (Graduate Fashion Week). Terry is
the chairman of the event, and fervently believes in evening up the playing
field for young talent. “GFW gives a platform to 60 universities with an
exhibition and 28 shows. London tends to be the centre of gravity for the
British fashion industry, but this platform allows students across the
country to show what they can do. Our design courses are the best in the
world, a fact which is proven by the reality that international students
account for between 20 and 30 percent of fashion graduates in the UK.”
When asked
what it is that excites him about these up-and-comers, even to the extent
where he is planning to offer a C.V. Clinic service during the event, he
replies “The fashion and media industry is so fast now. It encompasses all
areas of culture- music, interior design, art. For young gifted people to
make it in one of the creative fields today, they need the right guidance
from the start. I’m not creative myself, but I’m good at recognising talent
when I see it.”
“Artists must follow the talent that
they have, but if they want to excel, it’s important to be able to do
something that no one else can.” To illustrate his point, he pulls out a
Valentino Monticello book. Monticello creates astonishingly intricate opera
scenes out of collages of wine bottle labels, which are now exhibited all
over the world. He spent many years as a sommelier before fulfilling his
aspiration to become an artist.
Brief reflection over with, Terry declares that we must rush to lunch with
founder of the MOBO organisation, Kanya King.
After a scenic
detour- which finds us going to Terry’s daughter Victoria’s production
company in Holborn- we breathlessly arrive at the Churchill hotel, where we
stumble upon the glitzy midst of the first-ever Performance Awards - a
slight change from the assumed low-key lunch meeting, but an occasion that
will offer up rich social and anecdotal opportunity, if no actual lunch. As
Lord Coe and Kate Silverton celebrates a stream of inspiring individuals
such as last year’s Graduate Fashion Week Gold Award winner, Myrto Stamou, I
can’t help thinking of how this salute to enterprising skill reflects
Mansfield’s enthusiasm for fresh talent, and how he uses his experience to
successfully forge new possibilities for future design innovators. There’s
little time to dwell on this thought however, as he’s nearly out of the door
as the lights go up.
Bidding our farewells, we promise to catch up during Graduate Fashion Week. “I do wish that there were more people within the media industry like me, who would get involved and endorse events for students like this. I have been surrounded by creative people throughout my career, and it’s important that Britain continues to provide the best creative education, and that we give time to the people from tomorrow’s generation. The most important thing you will learn working in fashion, is that you must always keep an eye on the future.” He smiles before adding “But, according to my wife, the most important thing you can learn from me is how to run.” And with that final missive, he’s off again.