Vogue critic and talent scout Sarah Mower pointed out that the future belongs not to solitary geniuses but to rule-breaking creative communities
In an industry fixated on individual brilliance, and at a time when fashion is grappling with post-pandemic changes and the disruptions brought about by artificial intelligence, figures like Sarah Mower offer a radical reframing of how true innovation in fashion unfolds.
“The future belongs not to lone geniuses but to creative communities willing to break the rules together” – Sarah Mower, chief critic at Vogue.com and BFC’s ambassador for emerging talent
As the chief critic at Vogue.com and the British Fashion Council’s ambassador for emerging talent, Mower is one of the most influential voices calling for a profound shift in the industry. Her insights—on young designers who flourished during Covid, the urgent need to safeguard craft skills, and the power of collective creativity—speak directly to how creative industries can not only survive but thrive in an era of upheaval.
We met her as she addressed a packed room at Istituto Marangoni London, where the esteemed critic and talent scout shared her reflections on the transformations in fashion over the decades. Her message was clear: the future does not belong to solitary geniuses but to creative communities that are bold enough to break the rules together.
Sarah Mower, Vogue journalist and BFC Ambassador for Emerging Talent, during a talk at Istituto Marangoni London
“You don’t need to be a genius” – Sarah Mower
At 5 PM, the open space at Istituto Marangoni was enveloped in a particular kind of silence—the kind that comes when more than seventy people collectively hold their breath. Sarah Mower, a woman whose words have the power to launch careers and shape the future of fashion, had just said something that fashion insiders aren’t supposed to say: “You don’t need to be a genius.”
Her support for emerging British designers is well documented, as she has played a pivotal role in the rise of Ashish, Bianca Saunders, Christopher Kane, Erdem, JW Anderson, Matty Bovan, Priya Ahluwalia, Richard Quinn, Simone Rocha, SS Daley, and countless others. Yet, in a world that often idolises singular talent, Mower presented a bold perspective, challenging the myth of the lone genius in fashion.
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Mower then sat with the kind of unselfconscious ease that comes from having nothing left to prove. Her clothes—layered, favouring comfort over spectacle—made it clear that her priorities lay beyond the superficial aspects of fashion.
“So focused and so, so, so determined,” she said, the triple repetition revealing a genuine fervour. She was speaking of John Galliano, Sarah Burton, and the British talents who have shaped luxury fashion. There was something raw in her voice, an urgency that elevated industry insight into deeper, essential truths. Outside, London’s winter light was fading. Inside, Mower was dissecting the mythology of creative genius with the precision of someone who has witnessed too many brilliant minds crumble under its weight. She clearly argued that fashion is not shaped by individuals working alone but by teams of people who bring together diverse skills and perspectives.
Istituto Marangoni London students meet Sarah Mower for an insightful talk
“Young people knew how to be incredibly creative from their bedrooms” – Sarah Mower
When Covid entered the conversation, Mower leaned forward in her chair. “Young people knew how to be incredibly creative from their bedrooms,” she pointed out, her voice a mix of wonder and vindication. “We saw the most extraordinary achievements.” In her view, the pandemic wasn’t fashion’s apocalypse but rather its revelation.
“We have a problem within fashion: we are running out of seamstresses” – Sarah Mower
“We are running out of seamstresses,” she added, and suddenly the conversation shifted. No longer were we discussing £10,000 dresses. We were talking about the skilled hands behind them, about the knowledge passed down through generations and the artisans who bring fantasy to life through fabric.
“It’s so much better when there’s a creative movement happening, as it was with the Antwerp Six” – Sarah Mower
The room shifted as Mower described the Belgian design movement known as the Antwerp Six: Walter Van Beirendonck, Ann Demeulemeester, Dries Van Noten, Dirk Van Saene, Dirk Bikkembergs, and Marina Yee. She recounted how they packed a bus with their collections and drove to Paris. “It’s so much better when there’s a movement going on,” Mower explained, her eyes sparkling with the memory of that revolution. In an industry that often relies on the myth of individual genius, she continued to describe something closer to collective salvation.
Students at Istituto Marangoni London
She spoke about what she calls “middle monsters”—the traditional barriers that exist between creators and their audience. Her hands moved through the air as she described London’s pop-up markets, where young designers are redefining the rules of commerce. It’s not just a business strategy; it’s a form of insurgency cloaked in start-up culture.
“Whenever there’s a dark time, something (good) will come out of it” – Sarah Mower
“Whenever there’s a dark time,” she told us, “something will come out of it.” Ultimately, Mower offered wasn’t just a vision of fashion’s future but a blueprint for its survival: creativity rooted in community, innovation born from necessity, and the enduring power of people building something together. As London’s lights flickered on outside, her message resonated once again—fashion’s next chapter won’t be shaped by solitary geniuses but by those brave enough to build it together.
Aayush Aggarwal
MA Fashion Styling, Creative Direction & Digital Content