How I Got Here: Après Studio’s Emily Coogan on her law-to-fashion pipeline

“Anything that complements the ebb and flow of my creative whims is a win for me.”

Welcome to How I Got Here, where we talk to people who are killing it in their respective fields about how they landed their awe-inspiring jobs, exploring the peaks and pits, the failures and the wins, and most importantly, the knowledge, advice and practical tips they’ve gleaned on the journey. For this instalment, we hear from Emily Coogan, the Head of Marketing, Media and Brand Communications at Après Studio.

Fans of the Australian-born fashion label might be surprised to know that Emily is one of four core team members. “I’ve worked in brands double this size where there was a quarter of the work to be done and I much prefer where I am now,” Emily says. ‘Being a single cog in a giant machine made me feel lost.” Working in-house in a small team, on the other hand, has meant she’s become something of a jack-of-all-trades.

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Growing up, Emily remembers feeling drawn to the magazine lifestyle of the 2000s, with films like Suddenly 30 and The Devil Wears Prada as her reference points. However, like so many of us, that kind of creative career initially felt out of reach, so she went down the corporate route instead, working as a legal assistant at a not-for-profit.

“Once I realised there was a real world where real people worked in real fashion, I couldn’t ignore the urge,” she reflects. From there, Emily sent cold emails, interning anywhere she could and pitching her ideas to publications, before eventually landing her role at Après.

Now, no two days look alike. One minute, she’s “elbow deep in the cultural ramifications of AI models”, the next, she’s mapping out a seasonal rollout. “For a long time I had a real fear that I would end up in a role that I didn’t fundamentally believe in,” she says. “Fashion is inherently performative, but it doesn’t feel that way at Après, where there is so much heart and intention in every decision.”

Fashion Journal: Hi Emily! What do you do and what’s your official job title?

Emily: Formally, I’m the Head of Marketing, Media and Brand Communications at Après Studio. I’m a brand custodian per se, looking after the public perception of Après via content, words and socials. I’m the editor of our Substack, also executing Instagram and running TikTok, with regular detours into press and placements.

I’m also the co-host of That’s All Podcast, a pop-culture perusal that is currently on a little hiatus but very much still breathing.

Did you have an idea of your dream job growing up? 

Like so many who came before and after me, I was smitten by the magazine lifestyle of the 2000s, nurtured by Suddenly 30, The Devil Wears Prada, How to Lose a Guy in 10 Days et al. I’ve always loved observing culture and stringing sentences together, so it was an easy daydream to have. Like so many who came before and after me, this kind of creative role didn’t feel within reach and I went down the corporate path instead. It’s been a journey.

How exactly did you make the leap into the creative side of the industry?

My career as I know it was truly spurred by a moment of, “wait, that’s a job?”. I was studying law and journalism at the time, working as a legal assistant at a not-for-profit and realising that I was far too emotionally sensitive for the profession. I’ve never been a decisive person, with my brain set on becoming a solicitor, my eyes set on being the next Laurie Oakes, and fashion comms sitting on the periphery as a mysterious third option. Once I realised there was a real world where real people worked in real fashion, I couldn’t ignore the urge.

So much of my courage to take the leap came from my work mentors – lawyers who had taken roundabout routes into the industry. I was in my second legal role and one I could’ve stayed in for a long while. Without the advice of people older than me, I don’t know if I would’ve made the plunge but I’m forever glad that I did.

I began interning wherever I could, despite feeling limited by Covid and the fact that I lived in Brisbane. I sent cold emails everywhere, and said yes to everything, from a bridal boutique to a local magazine to one of Australia’s biggest womenswear retailers.

At the same time, I started pitching and writing, landing bylines in Fashion Journal (hello!) and Cheek Media. Eventually, my small portfolio served as a springboard into a job at a consulting agency in my final year of uni. I was suddenly a copywriter, marketer, sustainability specialist, content strategist, business planner and everything in between, and it was the best way to experience fashion for all its perks and pitfalls.

Working in-house appealed to me in the same way it did in law – being able to devote all of my time and creative energy to one business is ideal for my particular working style. I’ve since found that my heart lies in small business, where you need to be a jack-of-all-trades.

Can you walk us through a typical day in your life at Après Studio now? 

My work day often begins before I’ve had breakfast, which is the beauty and pain of working on your phone. Whether it’s a customer DM or quick content idea, my brand brain is dialled in from the get-go.

Once I’m in the office, each day is vastly different from the last. Being in a creative role within a small team, the variables are unpredictable and the to-do list is endless. One day, I’m elbow deep in the cultural ramifications of AI models, the next I’m spending far too much time editing a single TikTok, the next I’m strategising a season rollout.

I’m regularly thanking my lucky stars that I get to work in a slow brand in such a fast-paced world, where a focus on quality over quantity is never lost on me. There’s less urgency to spit out content over creating something that feels relevant and brand-aligned, which means I can slowly sink into each creative stretch rather than racing to meet KPIs or corporate dreams.

What has been a major career highlight for you so far?

Coming into a brand with such a strong ethical compass. Fashion is inherently performative, but it doesn’t feel that way at Après, where there is so much heart and intention in every decision.

For a long time I had a real fear that I would end up in a role that I didn’t fundamentally believe in. This industry inspires such an urgency to get a foot in the door, so you’ll work anywhere and do anything even if it doesn’t align with your values. To not only see but contribute to the inner workings of somewhere like Après has been a huge highlight for me, after a long road with many question marks.

What hurdles have you faced getting to where you are now?

Doubt and perfectionism are the biggest roadblocks for me, and definitely the areas I have to be most proactive about and most cognisant of how they affect my work. The internet is a very doubt-inducing place and I’m still learning how to wholly back my ideas. I’ve dealt with imposter syndrome for as long as I can remember, so fighting that little voice is also a full-time job.

I’m also quite shy, which can be a battle in a real who-you-know industry, but that shouldn’t deter anybody in the same boat. The biggest thing that snaps me out of this old trance is knowing that so many people feel similarly. Some of the most charming writers, inspired designers and discerning creatives I know have all spoken about experiencing imposter syndrome in some sense. If we all feel the same way, there might be a falseness to those thoughts.

I’ve also found that stepping away completely will short circuit any doubt. Weekends away from the screens and nights where I can simply detach from social media help to pluck me from the whirlpool of what others are doing, seeing, thinking and being.

What’s the best part about your role as Head of Marketing, Media and Brand Communications? 

There’s something so special about facilitating people’s point of connection to the brand. Getting to speak with real customers and understand why people wear what they do. The creative freedom and lack of rigid structure are also priceless. Both of these things would have previously terrified me as someone who loves order and routine, but anything that complements the ebb and flow of my creative whims is a win for me.

There are days when I could write until the candle burns out and other days when being in front of a camera makes me want to retreat from being perceived forever. Being able to lean fully into each mood means I’m far more productive than if I were simply checking boxes or defining and redefining monthly targets.

What would surprise people about your role?

My screen time wouldn’t surprise people but people are often shocked by the size of the Après team, being just four people with no plans to grow.

I’ve worked in brands double this size where there was a quarter of the work to be done and I much prefer where I am now. It means that instead of support from an assistant or junior, I can speak directly to the people who make it all happen. I can go straight to the creative director, designer, customer service or whoever is best to collaborate with at that moment, which ensures a level of richness to everything that we do.

Being a single cog in a giant machine made me feel lost. If you feel similarly, I’d say a small business might be your nirvana.

What skills have served you well in the industry? 

The ability to research has truly carried my career, and not just about fashion but people, art, pop culture, technology, history… anything. Law and journalism aren’t typical paths into fashion but they taught me how to investigate, which is a skill I use every single day. Being able to really delve into a topic, process swathes of information and host personal inquiries on a dime gives me a more well-rounded view of the industry I’m in, as well as the skill to navigate it with some air of objectivity.

I’m also a little anti-AI and believe that if we outsource our analytical skills, our brains might atrophy. I love knowing things.

What advice would you give to someone who wants to be in a role like yours one day?

Be multifaceted, have personal convictions and stay actively curious. It’s easy to put on blinkers and focus only on the task in front of you, but practising hobbies, ideals and opinions outside of your industry will keep you both engaging and ready to engage.

Not only does this give you an edge in job interviews but it also provides relief from the routine of it all. Fashion can be very insular, and working in-house especially can swallow you whole when you live, breathe and dress in one way. Earnestly existing in the world will only enrich your work.

Keep up with Emily here.