THE_LIFESTYLE_EDIT_TESSA_PACKARD

We get it. You want to do your own thing, you know, start a business, be your own boss, break away from that secure-but-not-so-satisfying role and finally start working on that ingenious idea you’ve had at the back of your mind for years. But then there’s that daunting question: where and how to actually start? In these types of situations, you tend to find two kinds of people: the ones who continue to dream and the ones who actually do it. Tessa Packard, well, she’s a doer.

Most people are luck enough to have one dream job in a lifetime but the 30 year-old has already ticked off two, starting her career working for some of the most lauded galleries in the art world, before giving it all up in 2012 to follow her dream of starting her own fine jewellery line. Offering the most beautiful statement precious stone and diamonds at a fraction of the price you’d fine elsewhere, Packard’s eponymous line was launched a little over a year later and is already reaping the rewards of its unique approach to fine jewellery, with coverage in the big titles from Financial Times and Vanity Fair to Tatler, Vogue and Harper’s Bazaar.

But, success aside, she speaks most compellingly about some of the lessons she’s learned along the way in an industry she knew nothing about when she started. Here, she talks to The Lifestyle Edit about stalking fashion editors until they responded to her emails, why networking is the key to building a brand and how she’s managed to overcome guilt about switching off.

THE_LIFESTYLE_EDIT_TESSA_PACKARD

While I adored working in the art world, I had always dreamt of being a jewellery designer. It’s funny, it’s one of those dreams I couldn’t put to bed; it always had a way of resurfacing. In late 2012 it dawned on me that if I didn’t go for it, the regret of failing would be nothing compared to the regret of never trying. The more I looked into starting my own jewellery business, the more I was drawn in.
I had no formal training in jewellery design as such, although I did do a four-day course at Saint Martins, which taught me the basics of technical drawings. It helped me formalise and put into practice the knowledge I’d already amassed through reading endless jewellery books and sketching out designs. I suppose I learnt on the job. I ultimately have my goldsmiths, workshops and stone dealers to thank for their endless time and patience at the very beginning.
Three seasons in, I’m both unbelievably surprised and happy with how the business has grown and how the brand has been received. Surprised, because I knew pretty much nothing or no one in the fashion or jewellery world when I started; and happy because the business has gone from strength to strength and I wouldn’t want to be doing anything else. My mantra of thinking big and long-term might just pay-off….
The first six months were unbelievably hectic but 

incredibly exciting.

For the first few months I was essentially unchartered, open water, furiously researching everything from packaging designers and stone dealers to jewellery manufacturers and relevant press. It is always going to be a challenge getting to grips with the whole industry. I think you need to appreciate that from the start and not go into it blinkered or blinded by the idea of fame and celebrity.

I think any entrepreneur has to be hands on with every element of the business of brand at the start. I don’t passionately love spreadsheets or doing my book-keeping but it does mean I know what my account is going to report to me at the end of every quarter. By and large though, I do actually enjoy involving myself with everything else. I love working on the marketing and PR side of things; I love doing the graphics for the website and I’ve come slightly obsessed with social and Instagram.

I’m lucky that I like socialising and meeting new people, as networking is really the key to building any brand. You must seize every opportunity and meet as many people as you can, regardless of whether you think they might help you or not. Some of my best connections or contacts have arisen when I least expected it and from the least expecting people. It’s amazing who a make-up artist or set designer might be able to introduce you to.


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I had to invest a lot of time and energy meeting as many journalists, freelancers and bloggers as possible over the past year and a half. Some were introduced by friends, the majority I pestered until they replied to my email or phone call. Without a PR agency it can be quite hard to get attention from editors when you are a new brand. The best advice I was ever given, by a PR no less, though, was to keep the PR in-house for at least the first two years in order to develop and cultivate my own working relationships with the press.
I didn’t have investment when I started the company. My mantra has always been to grow slow and organically and walk before you can run. I suppose the vast majority of my funds in the first six months went towards manufacturing my first collection and also launch parties and private client events. Working in fine jewellery, my clients expect a certain calibre of event and that does have its associated costs.
I never wrote a business plan, which probably sounds crazy. I had no idea how my business was going to be received or where it was going in the next few months so I didn’t see the point in writing a plan that wouldn’t be relevant down the line. I was much more organic. I did meticulously study my expenses and monitor my outgoings though. I called lots of favours from friends and family who are graphic designers or make-up artists. I’ve also always worked from home so office space is one huge overhead that I don’t have to worry about. Having just taken on my second employee, I know that the pressure is now on to balance the figures. 
I saw a real gap in the market for British-made fine jewellery that used semi-precious stones, was well set and looked much more expensive than it was.

Having a more accessible line of jewellery opens my market up to a larger number of clients as well as a much broader range of press and wholesalers. From a creative perspective, producing beautiful pieces under £600 is much more of an undertaking than designing haute joaillerie. You have to consider the cost of every little element from production moulds to how stones are set. As a designer I relish that challenge.

As much as I love the buzz that comes with pitching or meeting new clients, I always cherish the days in the office where I don’t leave my desk and am able to complete a full day of designing undisturbed. There is no average day, and working hours can start as early as seven and last until 11pm. I also work most weekends.

I made a promise to myself when I started this business that as long as I achieved my monthly goals and ticked off everything on my to do list I could clock off early for weekends or have a mid-week catch-up lunch with a girlfriend guilt-free.

Initially I found it quite hard to get the work-life balance perfect. When you are passionate about what you do, it’s hard to try and detach yourself from your work, especially if you are a young brand and you don’t necessarily have hundreds of support staff covering you when you are away. I’m becoming stricter with myself in terms of family time, working harder in the run-up to a holiday so that I don’t feel so guilty when I ignore emails.

I think guilt is probably a businesswoman’s greatest enemy – you always feel that you could be doing better, achieving more – and while it’s true to a certain extent, realistically you have to put things in perspective and remember that your business does not give as much meaning to you as your friends and family do. 

 

Photographs by Paul Whitfield for The Lifestyle Edit.