As the British Fashion Council’s Ambassador for Emerging Talent, Sarah Mower is a woman capable of making and breaking careers. In Hong Kong recently to promote British designers in Asia, Mower — who was recently honoured by Her Majesty the Queen with a Most Excellent Order of the British Empire (MBE) — is an industry icon.

Reporting from the front row for the likes of Style.com, “The Guardian,” “The Telegraph” and US “Vogue,” her catwalk reviews and stories are full of penetrating insights, incredible language and a sharp preciseness that unfailingly add to fashion’s ever-expanding lexicon.

Read on as the woman behind the ever-critical fashion lens reveals just what makes a collection great, the difference between emerging and established designers, and who she has her watchful eye on…

Lane Crawford: What does it take to spot talent? Is there a formula, process or is it instinctive?

Sarah Mower: Everything on the creative side of fashion is instinctive. I know for certain when something’s good when I get a physical reaction to it — like goose bumps, a shout of laughter, even feeling a bit nauseous at the newness in front of you.

LC: Which designer is a good example of that?

SM: I know it sounds weird, but that “sick” reaction is what I had when I came across Christopher Kane at Central Saint Martin’s in 2005. He was doing something so borderline vulgar with his neon-bandage collection, but I could see he was frighteningly talented. Being frightened of something in fashion is a sensation you have to allow and question yourself about, to push yourself to analyse — is it bad, or do you need to overcome your prudishness and give it a chance? I took a gamble with Christopher and introduced him to Donatella Versace the next day. I’ve always been thrilled that [Versus] worked out.

LC: Does this “gut reaction” happen to you a lot?

SM: Other times that stick in my mind were seeing Mary Katrantzou’s print portfolio at Central Saint Martin’s, which showed worlds and multiple dimensions of possibility in one girl's mind. And the drawings of a young menswear designer, Aitor Throup, who was applying for a grant to go to the Royal College of Art. It was art; never seen anything like it before or since. Having said that, it’s not just down to me and my reactions! I have fantastic panellists and mentors from retail, magazines, online and business who volunteer their time and make the NEWGEN decisions with me.

LC: What do you think makes a good fashion collection?

When someone has honed their point of view to an intensity that it becomes totally compelling. It should reflect something about the time we’re living in, not be derivative, be confident in what it’s aiming to do – and the clothes need to fit and be beautifully – made too.

LC: When does an emerging/fledgling designer become an established one?

To go from “emerging” to “established” takes most of 10 years. If you’re still in business after five years, and you’re picking up international interest — and being noted, worn and even imitated by others — you’re on your way. In Britain, that’s happening with Christopher Kane, Erdem, Jonathan Saunders and Peter Pilotto, which is brilliant.

LC: What have been fashion’s defining moments for you in your career?

Helmut Lang’s shows defined the Nineties for me — his Crombie coats, boy pants and T-shirts became my uniform. Alexander McQueen’s show, “Voss,” when he made his audience face a mirrored box, and look at ourselves before unleashing a show about madness and vanity; you knew then, this guy was a towering genius, beyond fashion, even. And seeing Olivier Theyskens’ show for Rochas, right after 9\11, when you knew that fashion was then going to be all about beautiful dresses — escapist, feminine and pretty for a new generation. Fashion as delight and hope.

LC: Who are your favourite established and emerging designers?

I couldn’t possibly pick one out amongst the British, not fair! But internationally, I’m watching Creatures of the Wind in America, and I was impressed by Olivier Rousteng at Balmain. And I admire Bouchra Jarrar in Paris. I’m noticing how many strong young women designers are coming through now. Is the 21st Century turning about to be the age of the woman designer? Once you start counting, it’s amazing: Phoebe Philo, Sarah Burton, Stella McCartney, Isabel Marant, Frida Giannini, Victoria Beckham, Mary Katrantzou, Roksanda Ilincic, Louise Gray... The list goes on.

LC: We heard that you love Lane Crawford, do tell us why!

Lane Crawford is an international force in chic! I saw the store in ifc mall a few years ago, and I thought it was the most stunningly tasteful and advanced store I’d stepped into for years…