Category: News

We’re hiring a new Head of Programme

With our former Head of Programme taking on the role of Managing Director, an exciting opportunity has arisen to join the London Craft Week team.

ABOUT LONDON CRAFT WEEK

London Craft Week (LCW) is a city-wide festival celebrating exceptional craftsmanship from around the world.  A unique cultural and commercial platform, the festival has grown significantly in scale and prominence since its launch in 2015, attracting 225,400 visitors in 2023.

LCW 2024 was our highest profile yet with a reception hosted by the Secretary of State for Culture, Media and Sport at 10 Downing Street, a full programme of events across the V&A, and a visit by His Majesty The King to Chihuly at Chelsea Barracks. 2025 marks the start of the festival’s second decade and we look forward to continuing to work with all our partners to celebrate the best of craftsmanship internationally.

LCW’s curated programme brings together established and emerging makers, iconic heritage and contemporary brands, studio groups, collectives and galleries with discerning consumers to build engagement and sales. It features exclusive workshops, demonstrations, exhibitions, talks and discussions and performances.

London Craft Week tells the stories behind some of the world’s most beautiful objects – the material, the maker, the process and the inspiration.  We work closely with partners to shape persuasive activations, connecting partners with new and existing customers.

London Craft Week is an independent, not-for-profit organisation.

ABOUT THIS ROLE

With our former Head of Programme now taking on the role of Managing Director, we are looking for an outstanding candidate with strong sales experience, excellent communication skills and meticulous attention to detail to plan, manage and deliver the programme for London Craft Week.

  • You will be a commercially-minded individual, who is used to working in a target-driven environment.
  • You will understand the commercial and creative objectives of programme partners and sponsors and develop effective solutions that address their needs.
  • You will have strong content development and brand management skills, and be able to translate this into commercial opportunities for potential sponsors and partners.
  • You will need to be a strategist, salesperson and ambassador for the business.
  • You will understand the ‘bigger picture’ while engaging at scale with the detail.
  • You will operate strategically at a high level while concurrently implementing your plans.
  • Your operational skills will allow you to translate your ideas into reality.
  • You will be an integral part of a small but dynamic team working on an ambitious event, whose profile and reach continues to grow each year.
  • You will work with flexibility, energy and commitment.
  • You will have strong interpersonal skills with the ability to ‘read’ situations and individuals.  You will be confident, authoritative, tactful and diplomatic.
  • You will balance intuitive and reasoned decision-making.
  • You will have a keen interest in the work of London Craft Week, craftsmanship, art and design, and in the luxury fashion, retail, arts and cultural sectors more broadly.

KEY RESPONSIBILITIES

Programme Development and Implementation:

  • Work with the Chairman, Managing Director and Programme Managers to develop and implement a balanced and vibrant programme in line with the ambitions set out.
  • Initiate and manage relationships with an international network of leading stakeholders including but not limited to artist-makers, brands, museums, cultural organisations, embassies, members clubs, hotels and concierge services.
  • Working with the Chairman, Managing Director and Programme Managers set and deliver on programme KPIs covering volume, balance and quality.
  • Shape activations, facilitate collaborations and act as creative lead for LCW.
  • Ensure that all programmed events meet or exceed LCW benchmarks for quality.
  • Liaise with category and discipline experts to review and approve applications as necessary.
  • Support partners with event planning and logistical advice when necessary.
  • Manage the schedule of events, agreeing dates and times with partners, working closely with the Programme Manager to avoid clashes and maximising opportunities for programme partners.
  • Ensure contact details for all programme partners and sponsors and associated status updates are logged on the database.
  • With the Programme Managers, manage and update programme spreadsheets.
  • Where required, develop events of exceptional quality for VIP audiences

Content Development:

  • Plan, manage and implement a content plan covering newsletters, websites and social channels, working closely with the Chairman, Managing Director and Programme Managers.
  • Monetise written content, upselling opportunities to programme partners and identifying new advertisers and sponsors.
  • Ensure all content produced retains the trusted LCW ‘voice’

Financial:

  • Work closely with the Managing Director and Programme Managers to set and deliver programme partner, sponsor and other revenue targets.
  • Develop a sales plan with agreed milestones to achieve the financial targets relating to programme partner income.
  • Monitor target income from programme partner fees, sponsorship and ticket sales and report progress to the Managing Director.

Partner Communications and Customer Care:

  • With the Programme Managers, be the main point of contact for all programme partners.
  • Work with the Programme Managers to ensure partner contracts are issued and returned in a timely manner.
  • With the Marketing Manager, develop a partner communications schedule covering: requests for copy and images; deliveries of print and digital assets; ticketing; evaluation.
  • Ensure all risk and insurance documentation for each partner is up to date and compliant.
  • Ensure a high level of customer care at all times.

Marketing and Press:

  • Work with the Marketing Manager and Programme Managers to gather all details, images and text from programme partners and sponsors for inclusion in the Guide and on the website.
  • Work with the Marketing Manager and Copy Editor to ensure a consistent tone of voice across all copy for inclusion in the Guide and online.
  • Work with all other team members to proof and correct the Guide.
  • With the Managing Director, brief the PR agency on the programme and, with the Programme Managers, produce a highlights document to focus their activity.
  • Meet and brief key journalists on the programme with the Managing Director.

Sponsorship:

  • Work closely with the Managing Director to identify potential new sponsors and add their details to the database.
  • Research contact details and arrange meetings as required.
  • Attend sponsorship meetings with the Managing Director.
  • Develop and write creative sponsorship proposals as required.

General Administration:

  • Support the Chairman and Managing Director in managing relationships with Strategic Partners.
  • Perform any additional tasks as may be deemed necessary for the success of the business.

ESSENTIAL SKILLS AND EXPERIENCE:

  • At least five years sales and partnerships experience
  • Experience of delivering defined creative content to achieve specified business goals
  • Exceptional understanding of the craft, art, design and luxury sectors
  • Strong commercial awareness and ability to identify new business opportunities
  • Confident sales and presentation skills
  • Experience of developing high-level partnerships
  • A keen organisational sense with meticulous attention to detail
  • A sound ‘creative eye’
  • Experience of using a content management system for websites and CRM
  • Confidence communicating and working with senior staff from a wide range of organisations including the art, craft, design and luxury sectors
  • Experience working with a range of software such as Microsoft Office (including Excel), MailChimp and Adobe Creative Suite
  • Ability to manage multiple priorities, work to deadlines and stay calm under pressure
  • Strong interpersonal skills with excellent verbal and written communication
  • Ability to think clearly and solve problems effectively
  • A focus on delivery with the ability to turn ideas into action
  • An understanding and commitment to the vision and work of London Craft Week and a passion to play a key role in shaping the company’s success
  • The ideal candidate will also have experience and an understanding of a similar event or festival environment.

TO APPLY 

To apply, please email naomi@londoncraftweek.com with a CV of no more than three pages including your current salary and a covering letter explaining in no more than 500 words how your skills and experience match the requirements of this role.

Closing date for applications is midnight on Friday 5 July.

Meet The Maker: Vezzini & Chen

Congratulations on your recent award. Please tell us about your approach to this project and what you felt made it as special as it was. 

 

Thank you so much! And a big thank you to Boat International for this award and for shining a light on art and craft. 

The brief from Winch Design was to create a wall installation for a superyacht’s staircase with lights inspired by a range of surfaces related to water, the ocean and the seabed. This was the perfect brief for us – being divers ourselves, the sea and the underwater world with their varying textures and micro-details are among our main sources of inspiration. For this project, we were particularly inspired by the water, waves and refraction of natural light, as well as the seabed and how the sand is moved by the water, creating magical “sand waves”.

Using our signature materials, ceramic and glass, we designed a sculptural lighting wall installation titled, Water and Sand.  Water is represented by clear glass forms. Each glass was then hand carved with a variety of textures inspired by the Ocean. Sand is represented by white hand carved porcelain pieces. Each piece was hand carved with texture inspired by the seabed.  

Light plays a central role within the work, drawing on our experience of diving, seeing the refraction of light underwater and its reflections on coral and marine life. The Underwater world constantly intrigues us. It gives us a sense of peace and calm, which we then try to convey with our work.

 

Please tell us about your journey into the world of design and craft, and the perspective you bring to it.

 

Cristina: My love for design and art began at an early age and was initially cultivated thanks to my parents. Since I was little, they have taken me to visit museums and several cultural sites and cities around Italy. Italy is renowned for its high-quality craftsmanship and designs, and growing up surrounded by this has influenced my work. I went to a fine art secondary school, studying both paintings and sculpture. This is where I first encountered ceramics, in particular terracotta. During these years I would visit Milan Design Week and I remember spending hours looking at design shows, especially lighting pieces. It is here that my passion for design started. I think what fascinates me about light is the atmosphere it creates in a space – something that touches your heart, like craft does. I liked the idea of creating a piece which works lit as a light but also unlit as a sculpture, a concept that I began working on during MA studies in Ceramic and Glass at the Royal College of Art. It is here that I met Stan.

Stan’s relationship with glass began solely in books. His father is an enthusiastic photographer and his mum loves discovering food and culture. Together they travelled the world bringing home souvenirs from all over the word.  He began visiting exhibitions and museums during high school and cultivated his fascination for the Western world. His first encounter with glass was in College in Taichung, which led to work experience at the Tittot museum of glass in Taipei. Thanks to his parents’ open minds he was lucky enough to be supported to come to study glass in the UK and begin his journey with his craft. 

Moving to the UK helped us both reflect on our own individual cultures and realise how they affect our practice and our way of seeing things. The highly textured, decorated ceramic forms lead on from the Italian classical style. The partly-textured pure glass forms are a take on Chinese ink paintings. It is a fine balance between the textured part and the non-textured part. The empty space is as important, like in Chinese ink paintings, says Stan.

 

What do you enjoy about the materials you work with? Are there others you would like to explore?

 

Glass and ceramics represent who we are, our culture and our interests. Both materials have a strong heritage within our culture and are part of our history. We often joke about the fact that Stan, Taiwanese, is the glassblower of the duo and I, Italian, am the ceramicist, but we both have a profound fascination for both materials. 

Glass and ceramics also have a direct connection to our sources of inspiration, nature and the sea. After all, ceramic and glass are natural materials and use natural elements such as water and fire to be formed. The marriage of the materials and their use in our work is, for us, also a link to the past. Using these ancient materials to create contemporary works makes us feel connected to the long history of our crafts.  

Last but not least, these are the materials we love and feel we can express our art with. Their malleable, translucent, pure and transparent qualities give us the ability to express our art and convey the feelings we want to express within our works. We would also like to explore marble and wood, maybe combining them with ceramic and glass. They are also both natural materials and, especially marble, share a lot of quality with ceramic and glass.

How do new ideas emerge for you and what is the process for developing them into finished pieces?

 

The motivation to create art comes from our love for the materials, the process and the experience of creating something with our hands, as well as the amazing feeling of embellishing the interior of people’s homes.  The process of how we develop a project is a continuous dialogue between the materials and ourselves as well as a balance between the simplicity in the glass work – Stan’s glass work and his aesthetic – with the highly decorative line in Cristina’s ceramic and her aesthetic. 

The shapes we develop are led by the materials themselves. When making a glass piece, We let gravitation and air to guide us. Gravity pulls the work and forms the shape. During the making process, each piece grows and evolves in its own unique way.  In a similar way in ceramic, we use and exalt the quality of porcelain, its purity, malleability and translucent quality. Once the shapes have been finalised, we work on the texture. Carving is one of our favourite parts of the making process. A form completely smooth without texture feels naked to us and hand carving it feels like dressing up the shape. 

It always surprises us when we put ceramic and glass together. The conversation between the two materials never stops. We often find interesting new reflections from the ceramic on the glass or intriguing distortions by looking through the glass itself. Our work comes alive when we add light, and everything starts to sing. Lights add another dimension to the work, creating new form, textures and reflections – unique each time. Light is an important element within the work. We use ceramics and glass to filter the light and create a warm atmosphere in the space. 

Our external inspiration comes from the energy of nature. When we travel to different countries we are fascinated by the different species of plants and seeds we can find. I, Cristina, have been collecting seeds and pine cones for over 20 years. This collection never stops inspiring us with the different forms they have on the outside and their intricate textures on the inside. The Idea of growth and its connection to seeds and light is what most of our works are about. A seed is a symbol of life and growth – most seeds need light to grow. A bit like our work needs light to come “alive”.

 

Could you tell us about what you are working on at the moment?

 

At the moment we are working on two big projects, one for a fragrance showroom opening in London in this spring and a series of wall pieces for a house in the South of France, as well as developing new work for our galleries, Adrian Sassoon in London and Rossana Orlandi in Milan.

 

Visit Vezzini & Chen here

Follow @vezzinichen

Photography: Sylvain Deleu

 

Meet The Maker: Joy BC

Please tell us about your journey into the world of art, design and craft, and the unique perspective you bring to it.

 

On paper, the formal side of it, I have done a BA in Jewellery and Silversmithing, at the Glasgow School of Art, followed by a three-year informal apprenticeship with two goldsmiths, who encouraged me to go to the Royal College of Art, where I did my masters. Recently, I was awarded a scholarship from QEST to work as a scholar with the master Goldsmith Giovanni Corvajah.

I was born into a home that was also a studio. Both my parents are artists, which I think might also have something to do with my path. My father is a sculptor and my mother is a painter and printmaker. They have two friends who are goldsmiths, and from a young age I was enamoured with their studio and the fire and the shiny precious things they made.

Whilst I lived in Scotland I saw the Glasgow School of Art degree show and overall I was really impressed by the level of work – across the board – both for its socio-political aspect, community base, and the technical skill. The jewellery and metal show was outstanding and it was at that moment I felt so excited about all the possibilities that this specialism could offer. It’s taken me years of training, formally and informally – breakdowns, rebuilds, late nights, excruciating moments of existentialism, and now I have a confidence in my work and practice that is mine and that I believe in. If you believe in it, there is someone else that will.

I see my art, and the craft involved in its making, as one connected thing. Craftsmanship to me is so, so, important. It is a marriage of ideas and material, concept and skill. As we grow up, society tells us we have to forget how to play and be curious. I have held onto my inner child this whole time, always asking her what she thinks about something or if a work brings joy, emotion and beauty.

What do you enjoy about the materials you work with?

 

I love noble metals, particularly gold and the 18ct (750) alloy ‘Legal Pinton’, a mix which I was taught by the master Giovanni Corvaja. Fine silver is also so beautiful and luminescent. Bronze is not considered a noble metal – but I love it – it is mostly made of copper, which in Japan is considered noble.  I use it for the surface patinations you can create. One of my favourites is a dark burgundy red/ brown patina which is achieved by boiling the bronze for hours in a special solution – which I learned when I worked with a Japanese katana master in Japan – and my own exploration of combining techniques. All of these metals I work with fire – which is something I have been obsessed with since I was a child. It is a force to respect and has this alluring draw to it, something primal and elemental. I go into a sort of Zen-meditation and extreme concentration when I work with fire. Everything else around me disappears and the focus you need to do complex soldering means you have to be lucid and calm simultaneously. It’s sort of like a flow state I would say.

Metals are also metamorphic. They can be recycled, reused and have several states in which they can be worked. Most think of metal as hard – but actually when it’s annealed it is very malleable, and it is how you work it to make up its atomic infrastructure that gives it certain qualities.

 What is it that fascinates you about all things Classical?

 

I came to my fascination with classical sculpture when my mum won a holiday on a scratch card to go to Paris, she took me to the Louvre museum. There I saw the Winged Victory of Samothrace – a winged ‘Nike’ – with head and arms missing. Even though this damaged body was missing vital limbs, she exuded so much power and movement. In Italy, there are loads of Roman copies of earlier Greek works, and the same in lots of museums in Europe. I found the repetition of copies and artists’ different interpretations of classical mythology very interesting

I have been musing for years about stereotypes and tropes of classical beauty. And rather than thinking of ‘classical’ as something old, or the ‘classics’ in Mythology and ancient Greece, what about how something becomes a ‘classic’ and why an idea, or a thing, an artwork per se, becomes this thing that is timeless in its beauty and that we trust in it.

 

 

How do new ideas emerge for you and what is the process for developing them into finished pieces?

 

I have bodies of research, rather than collections – which are eternally evolving for me. Tears are a repeated theme in my work. I have spent 12 years researching them, both scientifically and for their significance culturally, and am still drawing them on paper, physically from my body and out of precious materials. Did you know that in the Amazon rainforest there is even a type of butterfly that drinks the tears of turtles?

Metamorphosis is another concept I am exploring in a number of ways – through Myth, in the power to transform ideas into material, and again in how objects in relation to our bodies allow us to transform ourselves. Going back to the classics, I had been literally deconstructing figurative sculptures, slicing them apart. I am now exploring the architectural classic of a column and all the loaded meanings it has within our society. Ionic columns were sturdy, detailed and ornate, serving both as a work of art and a supportive structure. The Latin architect Vitruvius suggests that Ionic design was brought about by elements of the female body. If we take the description of ionic columns being ‘a work of art, and a supportive structure’, does that sound familiar to the ideals which western society superimpose on women? Much of my work explores the ‘feminine’ and perceptions of beauty within western art. The column piece I have been working on for the last nine months also looks at ruin-lust, which I’ve been exploring since 2011 (but really, ever since I saw ruins in Italy as a child). Consider what the ruin stands for: The demise and destruction of past empires and the rise of new ones. The universal reality of collapse – a warning from the past; an ideal of beauty that is alluring exactly because of its flaws and imperfections and failures.

You have completed two residencies in Japan. Could you tell us about what you learned there and the impact it has had on your work?

 

The first time I went to Japan I was awarded a residency and worked at Hiko Mizuno, in Tokyo for three months. I worked with metal casting techniques and Damascus steel with a Katana specialist.

The second time was a research fellowship, awarded to me from the RCA, six years later. This time I was doing specific research on material perceptions between the east and west, in particular in relation to Urushi (Japanese lacquer). I was looking at the western story of medusa, and had made a series of works which were my contemporary embodiment of her, in the form of morphing combs made of bronze, a material synonymous with western sculpture. I went in search of Japanese narratives that had similarities with that of Medusa, or folklore that involved powerful women wronged, that had been vilified and involved a transformation or metamorphic element. In my research, I found the story of Yamanba – and how she was turned into silk and silver, and had been trapped in a box which became her coffin. From this I made a silver comb, wrapped in Japanese silk, in an urushi box (all of which I made). It is now in a private collection. The care, skill, time, intent – is all very powerful in Japan when it comes to master-craftsmanship, and is something I am grateful to have learned about and now use within my own practice. It has had a huge impact on my work.

 

Where do you hope to take your practice in the future and why?

 

I try to stay present in my work. `The future is unknown – so the best I can do is be present in my practice every day, imbuing it with narratives that I feel strongly should be venerated. To make something out of precious materials is to believe in it. To take time and care is a love letter to the skill, concept and the material. Craft to me is thinking through my hands.

I hope to continue to make works which are meaningful markers in people’s lives, both directly for those who wear and engage with them in this dance that is life and also for those seeing them from a distance, whether that’s in one of the museum collections, or online, on a friend, or a stranger. I hope that that starts conversations and ideas and dreams.

 

Visit Joy here

Follow Joy @joy_bc

 

Meet The Maker: Dana Arbib

You describe glass as your ‘principal medium at the moment’. What drew you to glass and which other craft traditions would you like to explore?

 

I love working in artisanal crafts that have been passed down through familial generations and have a historical geographical relevance in the country I choose to work in. I love working alongside artisans and creating work that feels both unique and personal. I’m really into the art of stone carving at the moment and just went to the library this week to research it further. My interest came from seeing Alabaster used in lighting, specifically in the French Art Deco movement. I love taking ancient techniques and using them to create modern design pieces.

 

“Radice” Sconce in Amber and Saffron, and “Pezzi Due” Vase by Dana Arbib, 2023; “Checkers” Rug by Beni Rugs; “Zig Zag “Dining Table by Tucker Robbins, from Somerset House

 

What feeling do you hope your pieces bring to their eventual owners’ homes?

I want to design pieces which feel modern but also feel like an heirloom that you would keep forever.

 

Could you tell us about what you are working on at the moment?

I am exploring new materials – Italy is a country that is so rich in artisanal talents and spans many different materials depending on the region you are in. I would love to try working with a new material and mixing it with glass.

 

“Fusto” Floor Lamp, “Radice” Amber Pendant, and “Zucca” Vase by Dana Arbib, 2023; ceramic tray by Jordan Macdonald; screen attributed to Alvar Aalto from Somerset House

 

How do new ideas emerge for you and what is the process for developing them into finished pieces?

I usually do a tonne of research into a specific material. When I researched Ancient Roman glass I was inspired by the colors that were used and that is where I got my palette. Researching helped me identify the possibilities of how glass can be manipulated, noting the techniques that were used to make different textures and the shapes. I then collect hundreds, sometimes thousands of references and inspiration images so I understand the material and its opportunities and limitations. I then think of a point of reference, whether it be an art movement, a vegetable, or a random image I saw and I start sketching ideas. I start out with rough 10 second sketches, then a more defined sketch, then I move onto the computer where I make renderings with precise measurements. I will then travel to a country like Italy and sit down with the artisans and explain my vision and be there while they produce it to ensure it is as close to my original idea as possible while still embracing their own hand and perspectives.

 

Spina Vase

 

Which other current artist-makers’ work do you admire?

I have so many talented friends! My friend Laila Gohar uses historical references and creates “other wordly” culinary installations which would take your breath away. She has a brand called GOHAR WORLD with her sister Nadia and they work with artisans globally to create surrealist products for your tabletop.

Visit Dana here
Follow Dana on her Instagram here

We are hiring a Senior Sales and Programme Executive

An exciting opportunity has arisen to join the London Craft Week team as Senior Sales and Programme Executive.

About London Craft Week

Returning for its tenth edition from 13-19 May 2024, London Craft Week (LCW) is a city-wide festival celebrating exceptional craftsmanship from around the world. A unique cultural and commercial platform, LCW attracts 225,450 visitors to a rich and varied programme of over 500 events from 40 countries.
LCW’s curated programme brings together established and emerging makers, iconic heritage and contemporary brands, studio groups, collectives and galleries with discerning consumers to build engagement and sales. It features exclusive workshops, demonstrations, exhibitions, talks and discussions and performances.
London Craft Week tells the stories behind some of the world’s most beautiful objects – the material, the maker, the process and the inspiration. We work closely with partners to shape persuasive activations, connecting partners with new and existing customers.
London Craft Week is an independent, not-for-profit organisation.

About this role

London Craft Week is looking for a confident individual with strong sales experience, exceptional communication skills and meticulous attention to detail.
You will work closely with the Head of Programme and Content and the Content and Brand Manager to achieve stretching sales and programme targets.
You will need to be methodical, creative and communicate London Craft Week’s utility to our partners and sponsors.
You will have the opportunity to contribute creatively to LCW’s success.
You will have a keen interest in the work of London Craft Week, craftsmanship, art and design, luxury fashion, retail, arts and culture.
You will be part of a small but growing team working on a dynamic and ambitious event. This role will require you to work with flexibility, energy and commitment.

For further information about the role and for details of how to apply, please see below.

KEY RESPONSIBILITIES

Sales
● Maintain and update existing database of companies and contacts.
● Research new partners and build sales data including artist-makers, independent retail, luxury brands, studio groups, international collectives, galleries and national delegations.
● Develop sales pipeline and actively sell programme partnerships and advertising opportunities to achieve specific targets.
● Ensure potential programme partners understand the LCW opportunity and address any queries.
● Issue invoices, maintain accurate sales records and report progress.
● Provide ongoing relationship management for programme partners.
● Attend partner meetings with Head of Programme and Content and the Content and Brand Manager, in person and online as required.

Programme Development
● Support the Head of Programme and Content and the Content and Brand Manager on the development of larger content projects for London Craft Week 2024.
● Support and advise programme partners to develop persuasive events that address their individual objectives.
● Ensure that all programmed events meet or exceed LCW benchmarks for quality.
● Liaise with category and discipline experts to review and approve applications as directed by the Head of Programme and Content. Print & Proofreading
● Approach and chase programme partners for copy and images for the LCW Guide and website, newsletters and social posts.
● Liaise with partners and the Copy Editor to ensure efficient copy flow from partners to the Copy Editor and onto the design agency.
● Proofread the LCW Guide, website, newsletters and social posts. Online, Social & Digital
● Research and secure images for London Craft Week newsletters and social posts
● Support the Content and Brand Manager with uploading newsletter copy and images onto MailChimp and the website
● Working with the Head of Programme and Content and the Content and Brand Manager, publish social posts as directed using Hootsuite
● Support Programme Partners in uploading their event information (copy and images) to the LCW website.
● Chase programme partners, sponsors and media partners for copy and images. Administration
● Provide general administrative support to the LCW team.
● Prepare and distribute invoices for programme partners and sponsors using the accounting software Xero.
● Ensure timely payment of invoices, contacting partners and sponsors as necessary.
● Prepare agreements for programme partners, confirming the terms of their participation in LCW.
● Use Adobe Sign to send agreements to programme partners.

Distribution
● Support the Marketing Manager on the distribution of LCW Guides and event signage, liaising with partners and suppliers.

PR
● Provide information and images to LCW’s PR agency as directed by the Head of Programme and Content.
● Liaise with the PR agency and the LCW team to schedule interviews and to monitor copy deadlines.

VIP Programme
● Liaise with programme partners to ensure the smooth delivery of VIP events, monitoring guest lists, F&B and logistics as necessary.

ESSENTIAL SKILLS AND EXPERIENCE

● Relevant sales experience.
● Self-starter with strong commercial awareness.
● A keen interest in the work of London Craft Week, craftsmanship, art and design and the luxury, fashion, retail, arts and culture sectors more generally.
● Strong interpersonal skills with excellent written and spoken English.
● Confident telephone manner and understanding of how to structure a sale.
● Self-confident with the ability to communicate and work with senior staff from a range of organisations including the art, craft and luxury sectors.
● Ability to manage multiple priorities, work to deadlines and stay calm under pressure.
● Creative, with the ability to think clearly and solve problems effectively.
● Methodical, organised with meticulous attention to detail.
● Strong customer care ethic.
● Tenacious and hardworking.
● Some marketing experience an advantage.
● Good understanding of digital and social channels.
● Experience of using a content management system for websites.
● Experience working with a range of software including MailChimp, Mac/Adobe Creative Suite, In Design, Photoshop, Xero, Adobe Acrobat and Microsoft Excel/Office.

To Apply

Please email jonathan@londoncraftweek.com with a CV of no more than three pages and a covering letter explaining in no more than 500 words how your skills and experience match the requirements of this role.

The deadline for applications is midnight Saturday 28 October.

Photo credit Dan Weill Photography