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now but was a howler in the ’80s fashion era of power dressing.’ She landed her first ofice assistant role with


the Hille empire, as it was, reporting to Cherrill Scheer. Little did she know at the time that that would set her on course for greater things, including gaining a lifelong industry friend. ‘Even today, there are so many people with talent and not enough opportunities,’ notes Dowling. ‘Really all you need at this intersection is someone to believe in you. Anyone. And Cherrill Scheer of the Hille dynasty did. She gave me a temporary job that lasted ten years and arranged the hours so that I could continue painting. She became a lifelong friend and mentor.’ Finding her footing in the ‘business of


design’, Dowling recalls the very early days of FX as a ‘formidable force’ from the outset, describing its launch as a pivotal moment in trade publishing that brought the industry alive with colourful pages, inventive journalism and by championing good design. Meanwhile, having been to the many other


industry awards nights, Dowling decided that FX’s very own awards would break the mould, and a glitzy celebration of the best design talent was launched at the prestigious Grosvenor House Hotel on Park Lane, London, that dominated the calendar for many. ‘Awards were very blokey in those days and


very dealership-orientated,’ says Dowling. ‘If I’ve achieved anything with FX I’d like to think that I’ve steered it away from a pub-based party to a more professional party for architects and designers. But there’s still a lot of pub- based drinking! Only this time it’s much more gender-balanced.’ One of her career highlights was launching


FX Talks in 2018. Tasked with creating ‘a dull, corporate FX conference’, Dowling opted, instead, for a hand-picked selection of speakers, all from outside the industry, to deliver a TED-style talk on their take on radical thinking. An evening saw TV presenter Tom Dyckhoff share the stage with innovators including inventors, engineers, broadcasters and a horse whisperer among others. ‘Ever since I was tiny, I loved horses,’ adds


Dowling, who describes a lifelong ‘obsession’ with them. ‘Both art and horses have been major influences on my work with FX. When you have such driving forces in the background it’s hard to see how they cannot influence your attitude to all things FX. [Horse whisperer] Monty Roberts was a game-changer for radical thinking at the FX Talks, and art and exhibitions are a regular discussion point with architects and designers. So I’m not sure if I’m more cultural or agricultural!’ Dowling describes art as a revelation


and discipline. In some of her busiest, and most stressful moments with FX she would challenge herself to 30-second drawings of anything – around the house, at the bus stop, in meetings or in the ofice – with that being the perfect antidote. ‘It was, and will always be, my dream


job,’ reflects Dowling. ‘I feel I’m born and bred into this industry of contract design, and I love the colourful characters. I’ve met some lifelong friends along the way who have been inspirational and looked after me when things are dark. We all need friends like these. And I’m lucky enough to have met them through FX. So I’ll still be in the industry – just popping up with a different hat on.’


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