Insights from Alice Bouleau: The Recruitment Process and the Impact of Creative Directors

Recently, Alice Bouleau of Sterling International shared insights on how the creative directors are recruited and their evolving roles within the dynamic world of the luxury industry. Bouleau, an ex-designer who has worked for numerous brands including the American Proenza Schouler, joined Sterling International in 2018. The consultancy specializes in sourcing executives for fashion and luxury businesses. Two years after joining, Bouleau became the head of the creative wing of the company, that primarily deals with creative positions. Her primary responsibility being recruiting the best fits for creative director roles or other leadership roles, like image director, collection director, head designer, or design director.

When asked about the current demands of fashion houses searching for creative directors, Alice indicated that it's common for clients to want a designer with a substantial following and industry support. These potential creative directors must not only bring their talent to the company but also their community. The preference of having designers who work solely for the company, Bouleau believes, may vary. For a company reboot or during a period of struggle, it may be beneficial to have a creative director wholly dedicated to the project. Nonetheless, under certain conditions, it can be beneficial for a creative director to maintain their brand.

According to Bouleau, the key factors in selecting a creative director include the candidate's credibility, their ability to inspire and unite the team, and their relevance in eyes of the industry and press. Sometimes these attributes may even take precedence over product expertise. She also noted that the creative director role is more complex today, with leadership often overlooked despite being a crucial aspect of the job.

When asked about the expectations of today's creative directors, Bouleau indicated that their responsibilities often extend beyond the creative aspect of the product. They might also have to handle image, branding, marketing, merchandising, and store management. They need to become mini-CEOs who operate cross-functionally. She stressed upon the need for real skills like product expertise and management in a creative director role. She also highlighted the risks of promoting good designers to leadership roles without offering management courses or leadership coaching.

Further, when asked about the ideal candidate, Bouleau made clear that there is no perfect profile. Instead, it's key to analyze a candidate's skills and experience, recognizing the areas where they may require support. The most suitable candidate is dependent upon the company's DNA and management.

As for the financial aspect, Bouleau clarified that remuneration varies widely depending on various factors, including a brand's turnover, its workforce and its positioning. Similar to paying a top sportsman or sportswoman, companies tend to invest heavily in creative directors just like they would make investments in other positions. And just like sports careers sometimes have an early end, so too it is seen that being a creative director more than two or three times is difficult.

Bouleau stressed the existence of age bias in the fashion industry, with designers and creative directors getting younger, while more experienced designers often shift to roles like consultants or professors.

Lastly, regarding the question of privilege in pursuing a career in fashion, Bouleau expressed how difficult it can be for those from less privileged backgrounds. Whether it be affording fashion school, securing an internship or gaining financial support to start a brand, achievement in the fashion industry can often be seen as a matter of privilege.