On the Masthead

[onthemasthead]

Lauren Chan, Glamour

Miss Chan is a trailblazer in every sense of the word. Whether in front of the camera, or behind her desk, she has positioned herself as one of the most empowering voices in fashion. My Glamour colleague took some time to discuss her rise to fashion writer and role model.

What initially attracted you to fashion? I was initially drawn to fashion with one image—it was the foldout model-of-the-moment cover from Vogue’s September 2004 issue. I still have the copy sitting in my room at my parents' house and it’s one of the only issues I’ve ever safe kept. The allure of the new class of top models (now the supers of an era), the photography, and of course, the fashion drew me in and I’ve been hooked since. I knew then that I wanted to be one of the people who helped make that kind of content and give people that feeling.

After attending college in Canada did you move to New York with modeling in mind, or just fashion on the brain? I moved to New York after wrapping up my university degree in Canada with the goal of being a fashion writer. As someone who had a hard time getting a visa, let alone a call or an email back, from merely applying online I knew I had to be on the ground to do it. In the back of my mind, I always had dreams of becoming a model, and when Ford Models had its first open call in a decade for their plus-size board it seemed like perfect timing. I showed up, shook Gary Dakin and Jackyn Sarka's hands, and handed them my pictures *and* my writing resume.

At what point did you decide to step out from in front of the lens and start writing? Where you influenced by the lack of dynamic voices in fashion editorial? I was always a writer, and stepping in front of the camera came about organically, like I described above. Now, modeling is a less common occurrence for me but I think it helps with my beat of plus-size fashion reporting. I like to think it makes me more relatable—seeing more size 12 models when I was growing up would have saved me a lot of tough personal moments.

What I love about your career is that you haven’t abandoned your passions/skills, but have accumulated and evolved them into your position—you seem to spend just as much time in front of the camera as you do behind your desk! Was it a goal to do bit of everything? Ha! Well, now I spend a lot more time behind my desk. And I like it that way. It was less a goal and more an adaptation. That's a lesson I learned quickly: you can't make everything go your way, so you have to roll with the punches, so to speak. I wanted to write and needed a way here. So I picked up modeling when the chance arose. I needed a beat and a niche as a writer, and since I was plus-size modeling, I used that as a starting point. Now, I try to keep evolving by writing, working with Glamour.com, contributing to Glamour social, helping the advertising team, working on TV segments, speaking on panels, etc. There's always more to learn and I want to be immersed in everything. Something that I never let myself forget is that I'm lucky enough to be in an office with the most amazing talents in the industry—the people I once admired from afar. Because of that, I soak up every second and opportunity with those people.

Let’s discuss the fact that you are one of the only (maybe even the only) high-profile fashion publication staffers who represent a vastly under represented majority in fashion; influencing woman to take control of their style with stories such as “We Want Clothes The Fit” where you explored tailoring with fashion designer Zac Posen in Glamour’s September 2015 issue. What is your stance on plus fashion and why do you think it has taken so long for the niche to gain traction? I think plus-size fashion has gained real and lasting momentum because, for the first time, the public has legitimate ways to ask for that kind of content. With social media, it's now impossible to ignore the readers and the customers. A lot of them are more than sample size and they’ve wanted to see themselves mirrored in media for a long time but now they have the means to demand it directly. And on the other end, companies care. They feverishly track things like website page views, magazine sales, and returns on investments on social content in an attempt to make sure they're resonating with the public and making content they want to consume. And then you have it: the recipe for the progress of body diversity in media.

Many can argue that fashion media is split between those who work in the fantasy-realm and those focus on real world style. Do you think a shift is in the works for the industry as a whole? I think that's what Glamour does best. We take the fantasy (or glamour, ha!) of fashion and apply it to real life. That's definitely the kind of work I want to be doing, so I'm in the right place.

What is a favorite published piece that you’ve written/contributed to? “We Want Clothes That Fit” in Glamour’s Sept. 2015 issue (page 202); found on Glamour.com as “What Every Woman Should Know About Looking Better in Clothes”.

What can you not work/live without? Work: Apple everything and the Tape A Call app. Life: Hulu and Seamless.

What is an industry pet peeve of yours? My motto is work hard and be nice; you can consider my pet peeve the opposite of that.

Twitter, Instagram, or Snapchat? Instagram: it's where I get a lot of my breaking fashion news and discover interesting new influencers.

What word/phrase/motto do you live by? Aside from the above, one phrase that has stayed with me for years is Tracee Ellis Ross' "May the space between where I am and where I want to be inspire me." Motivation in a sentence!

URL: http://www.lauren-chan.com/

Instagram: https://www.instagram.com/lcchan/

Twitter: https://twitter.com/lcchan

[onthemasthead]

Chelsea Cardinal, GQ

GQ’s Art Director talks inspiration, the journey of the idea from concept to creation, and what she really looks for in a portfolio. 

Take us through your schedule; what is a typical day like? The schedule of each day depends on where we're at in the cycle for that particular issue. I often say that when you work at a magazine, it's sort of like everyone is on the same menstrual cycle— even the men; there's definitely a bad time of the month when everyone is at his or her highest stress level. For the art department, this is the most creatively active time when we're doing the most intense design work and coming up with the concepts that will go in that issue, that takes up about a week out of every month. The time leading up to this is not only spent planning/assigning illustrations and photography, but also spent protecting the work we’ve done, polishing it, and seeing it through to shipping.

I have a nice balance between collaboration and solitary work most days. There are several meetings to attend, but I'm lucky to also have time to sit and do hands-on design work which, from what I hear, isn't the case for some art directors. The GQ art department is structured a little more loosely than other magazine art departments in that there's less of a strict division of roles. Everyone usually works on at least one feature story and also works on some more formatted front of the book or department pages. It's nearly impossible to get bored.

What type of stories are the most enjoyable to design? The work at GQ I am most proud of was done on editorial pieces that I would not have naturally gravitated towards. I think I do my best work, and have the most fun, when I'm taken out of my comfort zone. When I'm dealing with content that I have a pre-existing familiarity with, chances are I also have a pre-existing visual language that I'm likely to apply and I'll need to work harder to go beyond the obvious solutions. When the content is unfamiliar, I am educating myself as I design, the solutions are much less predictable, and I will definitely have more fun; usually the work will be better as a result.

At what point in the story process do you begin developing the art concept? The point of involvement for the art department varies greatly from story to story. For the more conceptual art, we are involved pretty early (sometimes before most of the text is written and the story is really just a rough skeletal outline) when we start working closely with the photo department, photographers, and/or illustrators to come up with ideas. For other stories (as often the case with reportage and celebrity-focused stories) the design is more responsive. These photoshoots tend to be less conceptual, so there is more room for the design/typography to be expressive. I sometimes think of page design as building a bridge between the photography, the headline (which can also come with it's own conceptual conceit), and the story. As the designer, you are presented with these elements that sometimes don't necessarily work together as well as you'd expect, being that they are all parts of the same editorial endeavor, and we have to make them feel intentional, synchronous, and ideally play off each other a bit; hopefully resulting in a solution that feels to the reader like it was the only possible solution.

Where does most of your inspiration come from? Anywhere and everywhere. The natural world, the manufactured world, kid’s books, films, piles of garbage. I try not to look at other magazines very often, just to minimize influence, but obviously I have to look sometimes so I don't get really out of touch with what's going on. Music is a really important part of my creative work; I think it helps to get my brain into it's best "open" state and it also helps with the "closed" state needed for the highly focused and sometimes grueling execution portion of design work.

What are the essential habits and skills you think an art director should possess? Be approachable and nonjudgmental so that everyone surrounding you feels free to voice their weird—and possibly—brilliant ideas. I think it's really important for an art director to not reject ideas at the concept stage because I deeply believe that execution is 90% of the idea. You can explain an image in words and then show me 10 very different images (some successful and others not at all) that are accurately expressing those same words. Visual ideas need to be tried, not talked about too much. Also, a sense of humor has always been important in the work place and in the work it’s self. Not taking oneself too seriously goes along with the sense of humor, hopefully.

What can you not work/live without? Music. Earl Grey tea around 11:00am. Dark chocolate around 4:00pm. A tabloid sized hi-end scanner for bringing all my "done-by-hand" design solutions into the digital realm.

What is an industry pet peeve of yours? I've noticed that grammar in publishing is getting worse and worse. People have started writing things like: "There is fifty films you must see", and nobody blinks an eye or bothers to correct it. It’s just sad. Sad and embarrassing.

If you are reviewing someone’s portfolio, what things do you look for? A feeling of excitement in my heart. There is a lot of great work being done—beautiful, smart, highly polished work—but you can only really feel it when you are seeing something different and individual that only that person could have made. I love getting that feeling.

Do you have any advice for people trying to break into the industry? Follow-up. I think people are nervous to bother other people by following-up after an initial email. Often the reason I haven't responded to an email is that I've gotten too busy and forgotten, and when I get a follow-up email I'm happy for the reminder. The worst thing that can happen is…the person won't respond. It's very difficult to actually annoy someone with too many emails, but it's easy to forget to respond to one single email in the ocean of emails that some people receive every single day. That's practical advice but creatively, I always recommend that young designers try to infuse their portfolios with a bit of personal work—stuff that wasn't done for as a school assignment or for money. The best designers love what they do—and when you love what you do—you do it whether you're told to or not. The presence of great personal work is a sure indication that the designer is passionate and knows they are lucky to be getting paid to do what they would do anyway.

What word/phrase/motto do you live by? "Get moving. Your spirits will lift accordingly." It was in a fortune cookie and now it's stuck to my fridge with a magnet. I think it's patronizing, but nonetheless, a good little piece of advice so long as you are telling it to yourself and not someone else.

URL: http://chelseacardinal.com/

Instagram: https://instagram.com/chelseacardinal/

[onthemasthead]

Karen Snyder Duke, Redbook

The Health Editor talks about finding that burning in your gut (trust us, it's a good thing.)

What is a typical day like for you? Sometimes being an editor is like being an air traffic controller—it's a lot of pointing people in the right direction. There’s really no “typical” day, but overall I am emailing and calling writers, coordinating with sources and publicists, and meeting with the art department. Somewhere in between all of that I have to read copy and write the smaller pages throughout my section. Never a dull moment, that's for sure.

What attracted you to covering health after being at Parents and American Baby? I think health found me. The very first edit test I did was for an editorial assistant position that focused largely on health. I didn't get the job, but I enjoyed the test so much that I later jumped at the chance to edit the women's health news page at Parents. My promotion to associate editor atAmerican Baby brought even more health, plus the experience of assigning to freelancers. The role at REDBOOK felt like the natural next step.

Your first issue at Redbook featured Michelle Obama on the cover; what sort of feelings did you experience when it hit newsstands? The same feelings I experience every time I see my name on a masthead for the first time. (Does that ever go away? Someone please let me know.) But that was also a special issue for REDBOOK: It was the launch of our #HireWomenVets campaign, which culminated in a career-readiness event in D.C. last November. I couldn't have been prouder to join the REDBOOK ranks.

What is your favorite published piece you've contributed to? (Provide a link if you can.) When I was at American Baby, I worked on a piece on postpartum anxiety, which is just as common as postpartum depression but not often discussed. I made my first television appearance (on CBS News) tied to the story, and shortly after, we started receiving emails and Facebook messages from women thanking us for finally putting a name to what they had experienced. On our best days, editors get to do that.

When I moved to REDBOOK six months ago, I made it my goal to pitch health stories that were fresh, approachable, and fun to read. And I think we're delivering on that: In March, we ran a custom flat-belly plan that's unlike anything I've seen in other magazines; in April, we've got "10 Signs You Should Dump Your M.D.," written as though you're in an actual relationship with this person. So stay tuned—we're just getting started!

Complete this analogy: Fashion is to closet as health is to ____________. Tough one! It's a toss up between writers and sources. There's nothing I love more than matching the perfect writer to a piece, or having a nutritionist who's willing to let me email her about anything, anytime.

What do you do more of: eating right or exercising? Eating right, for sure. (I have to eat, no matter how busy I am!) But full disclosure: I'm munching on Thin Mints as I write this. It's for the children!

What can you not work/live/workout without? My coworkers. I've been fortunate to work with some incredible people over the course of my career. But I dare you to find a smarter, funnier team than the one at REDBOOK. And it shows in our pages.

Twitter or Instagram? Twitter. It's my fastest, easiest, most entertaining source for news.

Do you have any advice for people trying to break into publishing? Be fearless. Sometimes I think back on the things I did at 22—driving six hours from West Virginia for interviews, sleeping on a friend's couch in New Jersey, using their address so editors would think I already lived here—and I have no idea what I was thinking. But that's just it: I wasn't thinking. (Now it's all I do!) There will never be a better time to leap, so just do it.

What word/phrase/motto do you live by? Do what you love. If you're going to eat healthy, do it with foods you adore. If you're to get fit, choose exercise that feels like an escape, not a punishment. And if you're going to work, find a job that burns in your gut the way this one does in mine.

[onthemasthead]

Rheanna O'Neil Bellomo, Time Out New York

Time Out's Assistant Editor serves up a lot of food (and drink) for thought about cooking up a career in gastronomic editorial. 

What attracted you to covering food and drink? I’ve worked on a little bit of everything since my first internship, including local news, features, home design, travel, beauty, and food. Covering a variety of topics is what makes journalism fun and worthwhile. I chose this venture first and foremost because I wanted to work at Time Out New York. Second, the food world is an adventure all its own. A former editor once told me that she loved this subject because it can never be truly mastered and I agree. That’s why it’s perfect for journalism: There are countless types and variations of cuisine, produce and proteins, preparation and cooking methods, presentations and pairings—it’s a never-ending pool of knowledge and discovery to be translated and shared with others.

Take us through your schedule; what is a typical day (and night) like? I try to arrive at least 15 minutes early in the morning to catch up on news from the night before. After monitoring blogs and other city-wide and culinary publications, I’ll pitch ideas at our a.m. blog meeting and then report and write the posts as soon as possible. Throughout the day I continue to cover breaking news (restaurant and bar openings, chef and barkeep news, closings, events) on our site. After that, my day-to-day changes throughout the week. On Friday or Saturday nights, I’ll attend a new bar and write my review on Monday; pitch, report and write features for our section on Tuesday; follow restaurant and bar openings, schedule photo shoots, interview chefs/mixologists/owners, and write those stories on Wednesday. Thursday is close day, which means we finalize and polish everything in the magazine before sending it off to the printer. That can often mean a late night while you’re waiting for all the pieces of your section to come together: Your designer tweaking the layout, top editors combing your copy, fact-checkers confirming and changing details here and there. After work, I sometimes attend events like media previews and tastings.

When the chips are down, what is your favorite type of story/event to write/cover? Longform human-interest stories, in-depth profiles and other features that stick with you long after you’ve put them down (see: “The Hunt for El Chapo,” “The Girl in the Closet”). I’ll read them on my way to work, at lunch or before bed. Sometimes I get super nerdy and mark them up with notes. That’s where my passion for journalism comes from and, down the road, I want to be writing and/or editing stories like those every day.

What are the essential habits and skills you think a food and drink editor should possess? F&D editors need to be familiar with tasting notes and quick with their respective synonyms and, for the sake of logistics, can’t be picky eaters (I once had to try grasshoppers and maguey worms for a restaurant review). Other than that, it’s the same qualities needed to become any type of strong editor: hardworking, consistent and driven. Of course you’ve also got to have an eye for news and noteworthy stories, killer reporting skills, a clear writing style and respect for grammar and style.

What are the perks and drawbacks (if there are any) working at a city centric publication? The best part is getting to talk about New York all day. From editors in other sections, I get to hear about concerts and Broadway shows before they’re announced, which art galleries and exhibits to explore and which events to mark on my calendar. Time Out editors truly have their fingers on the pulse and it’s thrilling to be part of that. The only drawback can be our tight deadlines on the weekly print schedule, but that’s actually pushed me to grow tremendously.

What is a favorite published piece that you’ve contributed to? It’s so hard to choose a favorite, but my matcha tea story stands out because I caught and covered a growing trend before a lot of our competitors—even Bon Appetit. Plus, researching and reporting this piece was fascinating. I learned about the tea leaf harvest, ancient Japanese rituals, modern interpretations of the preparation, and unexpected uses for the green powder in dishes.  

What can you not work/live without? My iPhone. It’s an all-in-one for recording interviews, taking photos for Time Out New York’s Instagram, capturing quotes from passersby for our “Word on the Street” column, giving cabbies directions to the outer-borough bars I’m reviewing, and keeping tabs on our competitors’ social media channels.

Complete this analogy: Fashion is to closet as food and drink is to__________. Your palate. Develop it along with your writing skills because it’s just as critical an asset.

What is an industry pet peeve of yours? Less of a pet peeve and more of a journalism-wide struggle, is being at the mercy of your sources. For me, that can be an unresponsive PR contact, an aloof chef or hard-to-reach bartender standing in the way of interviews, photo shoots or a news scoop. It can be frustrating when you’re on deadline, but you just have to keep at it, think outside the box, explore all possible resources, and never give up. If you remain persistent and focused, you’ll work through it and the story will come together in the end.

Twitter or Instagram? Instagram. I’m always checking it to keep up with notable figures in the food world (most chefs and bartenders announce projects, events and news there before Twitter and Facebook), plus other editors and photographers I admire. Decadent dishes and gorgeous cocktails are meant to be ‘grammed, right?

For a starving entry-level editor, where's the best place to go on a Friday night in NY? One of my favorite spots to hit when I was an EA is Art Bar in the West Village. It's an argyle-walled dive that's been around for decades, slinging $8 half-pound burgers (with curly fries!) to both groups of friends and cozied-up couples in the oversize half-circle booths. The daily happy hour specials—half-off well drinks, house wine, and draft beers—are pretty hip, too. I still like stopping by there on occasion to sit in the pseudo-secret back room, on one of the plush couches by the fireplace.

What would your last meal (and drink) be? I’d want an array of some of my favorite things, served tapas-style: creamy brie cheese slathered on a fresh baguette, garlic-sautéed asparagus and portobello mushrooms, duck confit, chili-glazed ahi tuna, filet mignon in a red-wine reduction, carnitas-stuffed chile relleno, and crême brûlée. Oh, and a classic gin martini—with a twist.

Do you have any advice for people trying to break into the industry? Be diligent. If you’re in the application process, send out tailored cover letters and friendly follow-up emails without hesitation. Grab a coffee with editors you look up to (or even their assistants) to make connections and pick their brains informally. Never show up late and always send handwritten thank-you notes. Once you land the gig, don’t fall off the networking wagon. Exceed your editor’s expectations every day. And lastly, one thing I think we all have to remind ourselves from time to time, don’t compare yourself to your peers. Everyone’s path is unique, and you can always make edits as you go.

What word/phrase/motto do you live by? Mind the gap. It’s from a 2009 interview with Ira Glass that I first saw in college. He encourages all beginners in creative fields to strive toward closing the gap between the work they admire and the work they’re producing themselves. That means busting your butt and never quitting.  It’s simultaneously uplifting and challenging, which is why when I’m feeling overwhelmed, I remind myself that all my time and effort is moving me closer to the other side of the gap.

Photographed by Lauren Spinelli.

[onthemasthead]

Rachael Wang, Style.com

Fashion Market Director

What attracted you to covering fashion? Oh boy, I think I just always loved fashion. I was really into getting myself dressed starting around age 3.

Take us through what’s it’s like producing a shoot, from concept to print. I would imagine it’s different for every editor but for me, the Cliff’s Notes version goes like this:

Get inspired by… a fashion show, an art opening, a photo book, a trip to Nepal, a person on the subway, anything…!

Formulate a shoot concept around this inspiration by choosing what clothing/accessories/model/hair/makeup/location best expresses the idea. Determine what photographer will best capture the mood. Create “mood boards” or collages of all these ideas in order to articulate the shoot concept through images to others.

Pitch this story, via mood boards and verbal explanation, to my editors.

Once the story is approved, I notify the photo editor who will book the photographer, hair and makeup, the model editor who will book the model, and I get busy requesting all the clothes and accessories I need to bring the fantasy alive.

On shoot day, I will work closely with the photographer, model, and hair and makeup artists to create the desired mood. Literally, I put together the looks for the model and help her get dressed, creative direct the image by determining poses, specific locations, add in props, etc.

After the shoot, I wait a few days for the photographer to process the images and send her edit, which is a selection of her favorite images. From there I will work with my editor’s to decide which images we like best and want to use in the story.

Our art department sizes the images and creates the layout for the website. I make sure all the clothing is credited properly.

Celebrate the day the story goes live!

What are fundamental habits and skills should every fashion editor should have? Optimism, curiosity, creativity, unrelenting work ethic, pride, a sense of humor and grit.

What steps should someone take if they want to be a fashion editor; what if internships aren’t an option? I think it’s helpful for someone to pinpoint the companies she feels most connected to and to do everything in her power to get an interview and ultimately a job at one of those companies. It could be doing anything. You can work your way up from the bottom.

What is a favorite published piece that you’ve written/contributed to? I’m incredibly inspired by the lives and careers of Kim Peers and Hari Nef and was very lucky to get to work with each of them recently.

What can you not work/live without? Balance.

What is an industry pet peeve of yours? Tardiness.

Twitter or Instagram? Snapchat!

Do you have any advice for people trying to break into publishing? Listen well and have a thick skin.

What word/phrase/motto do you live by? Don’t ask, don’t get.

Photographed by Sandra Semberg.

[onthemasthead]

Jessica Pels, Marie Claire

The site director talks about the Internet in all of it's fast-paced, wondrous glory.

Describe what a typical day at MarieClaire.com is like. The pace of the internet is fast and furious, so I like to implement as much structure as I can to help us streamline and focus on the important stuff. We start early (usually around 8 a.m.) to hit the ground running on news and responsive stories, and then we focus on our longer-lead, more thoughtful pieces later in the day. There’s so much that goes into every story—deciding what to cover, doing the necessary research to make sure we’re reporting the most accurate info, conducting interviews, finding great art to illustrate the point, writing something smart and original, and putting it all together quickly and efficiently. It’s a lot of pressure, and we do it upwards of 20 times a day. But there’s no better feeling in the world than scrolling through the site at the end of the day and feeling like we produced a lot of content we’re proud of.

You worked in both print and online at Teen Vogue; how have your challenges changed now that you are strictly digital at MarieClaire.com? The most difficult—but most rewarding—thing about working online is that you have to rebuild your whole enterprise every day. You wake up in the morning and you have to start all over again, because the internet is a perpetually-moving thing, and if you have an off day, you’re left behind. It’s demanding as hell, but it’s so much fun.

What are fundamental habits and skills every digital editor should have? I would say obsession is an important one—obsession with culture, obsession with the internet, obsession with creating something powerful. Also a keen awareness of brand. The internet is a crowded space, where brands often overlap each other, so knowing who you are and who you aren’t is a vital tool to establishing a strong brand readers recognize and return to. And, of course, the ability to prioritize. Site directors are pulled in so many different directions that it’s important to know what’s most vital. To me, that’s always whatever the reader sees. If it’s a story, it’s priority. Anything behind-the-scenes is something I find time for later. What the reader engages with will always be what our focus is.

MarieClaire.com has coverage that spans across fashion, beauty, celebrities, career, and love; what do you look for to determine if something is newsworthy? It all comes back to the reader and what she cares about. If it’s something my reader would want to talk about with her friends, it’s something she should find on MarieClaire.com. For us that means everything from great beauty advice to the most relevant celebrity news to insightful career service to an eye-opening story about cross-dressing men in Pakistan. If it’s something that would make her say “huh” or “what?!” or “yes I will flag this for later,” we want to be where she finds it.

What is a favorite published piece that you’ve written/contributed to? We covered Fifty Shades of Grey pretty aggressively because it was such a compelling cultural moment and because so many of our readers were interested. And I think the goal of any good editor is to think in a comprehensive, 360-degree way about covering any one topic, so as a part of our bigger Fifty Shades plan I did an interview with a dominatrix timed to the movie’s release, just to get a sense of what that world is like, what her life is like. It was eye-opening. She was incredibly articulate, poised, and pulled-together, and it was one of those instances where I felt like I was able to show our reader something she usually doesn’t see, but is inherently fascinated by. It wasn’t easy to get the subject to agree to do the interview, but it was 100% worth it.

What can you not work/live without? My husband! I would starve to death if he didn’t feed me, but he also keeps me grounded—the nature of my job means I’m constantly assessing the value of a certain risk or am under the gun to achieve a certain goal, and he’s such a huge part of my success. He reminds me to have human moments…like, you know, when you close the computer and leave the apartment to venture out into the physical world? It’s something I sometimes forget to do.

Also: Wine Night. My bosses and colleagues always end up finding out about it because it’s such a constant in my life. Basically, I have a very close-knit group of friends, all of whom work in media, and every week we get together at one of our apartments and (as the name would suggest) drink wine. It’s therapeutic, fun, and often where a lot of good ideas come from. We’ve hardly missed a single week in the past five years, which speaks to how much we prioritize it.

What is an industry pet peeve of yours? I'd like to see more educational support for web journalism specifically—I think more kids should be trained for this particular work. Being a successful digital journalist comes with its own very demanding, very specific criteria.

Twitter or Instagram? Oh definitely Instagram. I mean, as a web director, I love that Twitter a) keeps me up-to-date on news and b) directs readers to my site, but as a human being, Instagram is my favorite thing ever. It’s probably my second-most frequently opened  app on my phone, aside from email. And Chartbeat.

Do you have any advice for people trying to break into publishing? I think the most important thing as a newcomer is to have something to show—a blog you’ve been writing and are proud of, bylines at your college paper, internships at startups, something to demonstrate that you’re engaged and motivated to produce content, regardless of where you are.

What word/phrase/motto do you live by? Always be better. I think driving forward is a basic function of our editorial existence…if you’re not pushing harder towards excellence every day, why bother? Maybe it comes from my ballet training, or from all my years working with editors like Cindi Leive and Amy Astley and Anne Fulenwider, but I genuinely believe that victories should power you forward more than anything else. Celebrate them, of course—victories kind of have to be celebrated to be considered victories in the first place—but use them as proof that you can do more, and better, and smarter.

Photo by Leslie Kirchhoff.

[onthemasthead]

Daniela Cadena, Buzzfeed

The staff writer discuses GIFs, cheese, and trending topics.

How did you end up writing at Buzzfeed? I've always been a BuzzFeed junkie, so I was really excited when they started writing content in Spanish. One day I was reading one of their Buzzfeed Español posts, and I noticed that the language seemed forced, sort of unnatural. At the bottom of the post it said something like "if you have any suggestions, please email us", so I did. I emailed them with my suggestions and then they asked me to submit a couple of sample posts on BuzzFeed Community and after a couple of months of interviews and back-and-forths, I was offered a position as part of their International team.

What sort of beats do you cover for the site? A little bit of everything, but I really enjoy writing about art, food, travel and women empowerment. I also usually go for things that I think would perform well on social media.

Describe what a typical day is like for you. Every day is different, but I usually start with coffee, I check my emails, then I go on Twitter and Facebook to see what's trending, then I either come up with something new or keep working on something that I have already started. Then when that's done, I publish and I start working on the next thing.

Out of your diverse background, what has surfaced as your most valuable lesson or asset? How has that played off? I think my best asset is that I'm always pushing myself to be creative. I'm always looking to do something new and different, because I know that's the kind of content people are looking for. I think it has paid off because you NEED to be creative in order to work at BuzzFeed, and for your content to be successful. 

Buzzfeed represents the new frontier of media; but behind the GIFs and quizzes, what are some happenings behind-the-scenes that make working at a .com so appealing? The amount of people you reach with your content and how quickly it happens. I mean, just look at our Obama video and the whole #dressgate debate, that was insane. Our dress post received over 35 millions views! 

How do you supplement your work with your hobbies — such as photography? I think that in order to be a good photographer you need to be creative, so it's always fun to plan a shoot. I'm not a professional photographer by any means, I just have an expensive camera and gorgeous friends that don't mind playing model.

What is a favorite published piece that you’ve written/contributed to? I recently wrote a post about things you can't avoid after you turn 25 and I really enjoyed working on it. I also got a lot of positive messages on Twitter of people saying that totally related to the post, so that was a pleasant surprise. I think it was very honest, but fun at the same time. I also wrote about this cool Korean type exhibit I went to last year. I thought the concept was very cool and the art too, it was just so easy to like.

Since you work at Buzzfeed, what GIF best describes your job? This was actually shot at the Buzzfeed office, but I found it randomly online.

What can you not work/live without? Work: My phone. It has everything I need. Live: Cheese and Netflix.

What is an industry pet peeve of yours? People that are condescending. I think not just in the industry, but in general. I think you should always remember where you came from and always be nice to people.

Twitter or Instagram? Tough choice, but probably Instagram.

Do you have any advice for people trying to break into media? Learn and practice as much as you can. Intern, start a blog, freelance, do anything and everything you can to gain experience. Also, always remember that people aren't against you, they're for themselves, so don't take things personally. Lastly, be creative, do things that make you stand out.

What word/phrase/motto do you live by? If you don't like something, change it.

[onthemasthead]

Fashionista Talks to Nick Axelrod

Co-founder of Into the Gloss, and a former editor of Elle and WWD, talks to Fashionista about his career in editorial.

"I pitched Katy Perry. This was 2007, before she even had a hit. So she was on the cover, and then I was the first one to do a fashion story on Ke$ha, and we were the first fashion publication to interview Santigold."

[onthemasthead]

Fashionista Calls Foul on Vogue Style Editor

"Why cruel? The person to me is as dignified as anyone else!"

"... The things she writes, both in Vogue and on social media, often straddle the line between entertaining/aspirational and disturbingly out of touch. On Saturday she crossed that line."

[onthemasthead]

Melissa Bykofsky, Parents

The Associate Articles Editor talks breaking news vs. features, beauty sales, and the art of keeping in touch. 

What is your career backstory? I've loved editing and reporting ever since high school, but didn’t realize it could turn into a career until I went to Binghamton University and joined the student-run newspaper, Pipe Dream.

I learned how to write, report, and edit over the (way too many) hours I spent in that office. During college, I interned at two hyper-local newspapers on Long Island. I was always a newspaper girl and thought journalism started and ended with breaking news, until I landed a features internship at Newsday. There I met an editor who told me that a breaking news reporter talks to people on the best and worst days of their lives and features reporters find their stories every day in between. That really stuck with me and made me realize I wanted to write and edit stories like the ones I read in my favorite magazines. This was the moment when I decided to enroll at CUNY Graduate School of Journalism to break into the NYC magazine scene. I was lucky enough to intern at Marie Claire and O, The Oprah Magazine during graduate school. Thanks to the help of my incredible mentors, I was hired as an editorial assistant at Marie Claire immediately upon graduation and am now the associate articles editor at Parents.

What is an industry pet peeve of yours? How easy it is for editors to forget what it was like to start out in the industry. Too many informational interview requests go unanswered and edit tests get ignored.

What is a must-have on the job? Amazing co-workers who tell me when there are cupcakes in the office. Added bonus if they are good with writing display copy! (Everyone needs help brainstorming headlines during a long day.)

What is your favorite work perk? Beauty sales. A girl can never own too many bottles of nail polish.

You immediately enrolled in graduate school after getting your bachelors; what were some of the advantages of getting your degrees back-to-back? I was definitely one of the youngest in my program, and sometimes I felt I didn’t have as much life experience as my classmates. Many of them came in knowing exactly what major stories they wanted to report and who they wanted to be in the industry. I only knew that I thought I wanted to be a magazine editor. This turned out to be one of the biggest advantages for me. I was able to take classes in radio, TV, social media, and feature writing. I confirmed my love for magazine editing and gained some impressive new skills along the way. Everyone I met during grad school is now part of my career network both in New York and across the country, which has been extremely helpful. I figure that being a Master’s candidate helped me get my internships at Marie Claire and O, The Oprah Magazine.  

You interned at Marie Claire and then returned four months later as an editorial assistant; what are your tips for staying in touch with editors until a position opens up? I was lucky enough to stay in the Hearst Tower during those four months while I interned at O, The Oprah Magazine. I occasionally ran into editors I interned for in the cafeteria, but more importantly, I stayed up-to-date on the industry news. During those four months, a lot of changes happened at Marie Claire—Joanna Coles moved to Cosmo and Anne Fulenwider became the new Editor-in-Chief. I made sure to reach out to the editors I worked with to wish them luck with the changes and congratulate them when promotions were earned.

Now that I’m on the other side of things, I can say that it’s always nice to get a friendly “hello” email from a former intern throughout the year—and not just when they’re about to graduate.

What is a favorite published piece that you've written? At Marie Claire, I worked on a series called Passionista Playbook, which features women like New Girl Showrunner Liz Meriwether and Project Gravitas Founder Lisa Sun who turned a passion into a career. I loved hearing how these women figured out what they were passionate about and possibly risked everything to follow their dreams. Their stories were extremely motivating. You spend most of your life at work, why not do what you love?

What is some advice you have for others trying to break into the industry? Don’t shy away from going after what you want, and get as much experience as you can. If you’re interning with the fashion department and decide you want to work with the features team instead, speak up. Let your supervisor know what you hope to get out of the internship. Their job is to teach you how to get there. No one will hand you your dream job unless you work for it.

URL: www.melissabykofsky.com

Twitter: https://twitter.com/MBykofsky

Instagram: http://instagram.com/MBykofsky/

[onthemasthead]

Stephanie Sporn, Freelancer

This editor-for-hire conquered internships at Lucky, W, and Refinery29, and just rocked R29's fashion week coverage as a freelancer, now she is ready to take over

When did you decide you wanted to be in publishing? My first love was drawing, and as soon as I could write, it became my second passion. I used to write and illustrate my own stories, and I thought I’d pursue creative writing in college and, perhaps, become an author one day. I would say when I entered high school, I had the realization that in my specific case, being a fiction writer may not be a viable career – I questioned being able to produce enough content if I wasn’t feeling inspired but had no choice. I read a ton of magazines and wrote for the arts section of my school paper, and I decided that journalism would be a more productive and stable way for me to do something I love on a more structured path. From that point, I never looked back.  

You’ve interned/worked at many places such as Lucky, W, CollegeFashionista, Frugal Traveler: Seth Kugel throughout college, and you just wrapped up freelancing at Refinery29 during fashion week; what are some tips on managing such a busy schedule? Well, a large part of why I went to NYU was because I knew my end goal, and the internship opportunities were unparalleled. I’ve always done a million things at once, so being busy has really become my way of life – and, I’d say most NYU students feel a similar sentiment. Of course, organization and commitment are crucial, but I think self-awareness is really the most valuable. I was very social in college, but if I didn’t want to go out one night because I’d rather focus on school or mentally prepare for a big day at my internship, I really didn’t flinch when opting out. On top of school and internships, I also was the president of my sorority, and that taught me the biggest lessons in stress management when working in a team environment. First, don’t ever be afraid to ask for help, and secondly, delegate wisely.

You studied at NYU Paris for a semester; what did you take away from that experience besides getting a crash course in French? My second major was French, so it was sort of an unspoken rule that you had to study abroad in Paris. Besides the sick level of adoration I will forever feel for Paris, the whole experience and being fortunate enough to travel frequently during my semester really just opened my eyes. I had been to Paris once before, but by residing there, I identified so much with the way Europeans live in a way that caters to the senses. They’re surrounded with stunning historic architecture, hundreds of museums, and even the way they slow down to savor meals, it just made the American Beauty quote, “It's hard to stay mad when there's so much beauty in the world” resonate deeper. My creative passions were as ignited as ever, and I became a much more positive person.

What beat do you want to dedicate your career to, or would you ideally like to remain diverse? I’ve always gravitated towards fashion, but my semester abroad made me extremely interested in travel writing. I love that in this genre, I can engage all my interests by writing about hotels, art, food, fashion, and more. Truthfully, I would be happy pursuing any of those subjects individually, but I would love to bring an international perspective to anything that I do.

What is your dream job? I know everyone says it, but I aspire to be an editor in chief, hopefully for an artistically driven travel or fashion publication. For starters, nothing feels more rewarding to me than high responsibility, and I go absolutely crazy if I’m not busy or multi-tasking. I’ve always been an analyzer, constantly approaching situations from as many angles as possible, and I love being able to work towards a clear and cohesive goal. I believe I bring a marketing and branding angle to editorial that really keeps the total package in mind. There are just so many aspects of leadership that motivate me, from representing a group at large, to working and developing new leaders. When I’m a part of something, which I would only do if I strongly believe in it, I truly eat, sleep and breathe it, and I know that’s how I would treat the publication.

What is a favorite published piece that you’ve contributed to or wrote? I definitely have articles, like this Michael’s 25th Anniversary DuJour piece, where I am more proud of my reporting and writing, but my favorite, most special piece is a Lucky article called, “Fashion People Reimagined As Macy's Thanksgiving Day Parade Balloons.” I pitched this idea to my editor and remember nervously asking the John Jannuzzi (I adored his drawings) if he would do the illustrations. I was beyond flattered when he was interested. As if it wasn’t thrilling enough to see my article headlining the site on Thanksgiving Day, I received a small congratulatory letter from John Jannuzzi, and we both loved how the piece turned out. It may seem silly, but I know in 10, 20, 50 years, it will always be one of my career-affirming moments.

What can you not work/live without? I cannot live without my camera. I am 100% that person who gets laughed at when I ask someone to take a picture with my Canon and not an iPhone. I also cannot live/work without snacks (I do not discriminate against any) and a set of quality headphones. I’ve learned I often focus best by listening to a steady soundtrack.

What is an industry pet peeve of yours? Email response time. My sorority advisor drilled “ERT” into the heads of our chapter’s leaders, and it is now and forever a part of my DNA. Of course, people go on vacations, things come up, but if I email you, and your ERT is on point, I already like you. I really believe it saves a lot of time and email anticipation anxiety – or shall I say, EAA?

Twitter or Instagram? Instagram, hands down. I’m a very visual person, and since I got my first camera at age 11, I take pictures of everything. Sometimes it’s dangerously addictive, but it’s less fussy than Facebook, and I feel like you can really get a sense of someone by seeing how he or she curates his or her photos. Not to mention, it’s the best way to get restaurant recommendations, or general recommendations when traveling.

Do you have any advice for people trying to break into fashion publishing? Well, in general, intern! But, for fashion, I can’t recommend enough to get involved with CollegeFashionista, which has grown tremendously since I joined in summer 2012. I remember when I didn’t have any journalism internships, and being a CollegeFashionista Style Guru gave me weekly clips that proved my abilities with interviewing, photography, and writing. When I went for my first “big” interview at Lucky, my future boss was genuinely impressed with my body of work, and I think it was a major reason why I got the gig. It was the perfect way to launch myself into the industry, and I even returned as a social media and marketing intern during my senior year. I still keep in touch with Amy Levin, CF’s founder and creative director, and I try to attend CF events whenever I can.

What word/phrase/motto do you live by? "The world is but a canvas to the imagination" by Henry David Thoreau.

[onthemasthead]

Jenny Jin, Real Simple

The beauty assistant talks infinity, Instagram, her makeup bag, and her career make over

[onthemasthead]

Alison Goldman, Women's Health

The Online Senior Associate Editor on her ‘interesting, surprising, and rewarding’ career

What is your career backstory? I actually grew up thinking I was going to head to college and major in theatre. I just happened to have a huge women’s magazine obsession on the side. The summer before college applications were due, I had a change of heart and switched my plans. I’m so glad I did! I majored in journalism at the Medill School of Journalism at Northwestern University and spent my summers interning at Family Circle (as an ASME Intern), The Knot, and Whirl. During the fall of my senior year, I interned at Glamour. I got crazy lucky when an editorial assistant position opened there that spring. I started at Glamour straight out of college, and I moved to WomensHealthMag.com (originally as an assistant editor) in February 2013.

What is an industry pet peeve of yours? When writers don’t proofread their stories before they turn them in. #grammarstickler

What is a must-have on the job? A notebook and a pen! I basically have them glued to my hands (and I’m a web editor!) so that I can always take notes. Also necessary: my phone and caffeine.

What is your favorite work perk? Getting to talk to so many fascinating people. I chat one-on-one with celebrities, experts in medical research, respected personal trainers, and regular women with incredible stories. It makes my job so interesting, surprising, and rewarding.

You interned throughout college and were able to graduate with an EA job at Glamour; besides interning, what are some other ways to get noticed right out of college? Networking, for sure. I already knew the editors at Glamour because I had interned there, but I also did my best to keep in touch with them throughout my senior year. You can do that regardless of whether or not you’ve held an internship at a publication. This industry is a small one—reach out to an editor for an informational interview, ask if he or she can recommend any other editors you might be able to meet with, and follow up with all of them. Go to industry networking events, too—Ed2010 and ASME NEXT have great ones.

You’ve held three positions as an online editor for Women’s Health; do you like working on the web rather then in print, or do you think that the two formats are interchangeable these days? I think both formats are amazing for many different reasons—each one offers really cool and varied opportunities for packaging, for example. I miss working in print, but I also love working on the web. I’m a big fan of hitting “publish” and—whoomp, there it is on the site!

You get to write across so many topics; how do you stay current on each subject and know what to report on/cover? Constant social networking. Every morning, I spend a solid amount of time reading the news, and then I’m always checking in on Twitter and Facebook throughout the day for updates. Also, people watching and listening are essential. My friends are the WomensHealthMag.com demographic, so if they’re talking about something or dealing with a friendship, relationship, health, or work issue, odds are so are other readers.


What is a favorite published piece that you’ve written? I spoke with Rebekah Gregory DiMartino and Pete DiMartino, two survivors of the Boston Marathon bombings, this past April, one year after the attack and the day after they got married. I was so inspired by their perseverance.

What is some advice you have for others trying to break into the industry? Three things: 1) Get as much experience as you can at as many publications as you can. 2) Give everything you’ve got when completing edit tests—they’re super important during the interview process. 3) Always, always, always be enthusiastic, passionate, and upbeat! Editors notice a great attitude, and it will go such a long way.

[onthemasthead]

Katie Sapp, Teen Vogue

TV's Fashion Assistant talks about starting her fashion editorial career in the closet

What is a typical day for you? Does one exist? Ah, rarely do I have a day that is same as the last, but every single day starts with checking emails on my phone as soon as I wake up. I am constantly communicating via email with PR firms, our editors, stylists, etc. Everything is very fast paced, so it’s important I answer everyone in a timely manner. My job consists of coordinating sample pick-ups from PR firms and fashion houses, shipping trunks and packages around the world for shoots, and returning samples when the shoot is finished. It’s a lot to juggle!

Fashion assistants are known to be extremely organized and detail-oriented; how do you stay on top of things? Lists, lists, lists! I have a binder that I literally write down everything in: pick-ups, returns, notes about requests, etc. As each task is finished I cross it off with a highlighter. It’s super important to be thorough and to always triple check yourself. Each night I go through my binder at least once to make sure everything for the day is complete. I would be lost without it!  

What are the essential habits and skills you think everyone at a fashion magazine should possess? Be decisive, be dedicated, and have a positive attitude. It’s important to be able to think on your feet. Our workdays can be chaotic and you need to be able to make the smartest decision in a short amount of time. With that said, sometimes the going does get tough, but if you stay focused and dedicated you will go far. Never give up! And that’s where the positive attitude comes in. I can’t stress enough how magnetic positive energy is. And let’s be honest – fashion is meant to be fun!

What is a favorite published piece that you’ve contributed to? I’ve recently starting contributing to our website in my spare time. I just did an outfit story of five looks for every kind of Valentine’s Day date (it’s only one month away, people!). It’s nice to have the website as a creative outlet. I really enjoy piecing together outfit stories in my free time. I loved this Valentine’s story because it was a bit of a challenge. I did my best to make it festive, but not TOO festive.

 What is your dream job? My dream job is, of course, to become a fashion editor. Being the fashion assistant at Teen Vogue is just one more stepping stone on the path to my ultimate goal. 

What can you not work/live without? I couldn’t work/live without my awesome team of freelance assistants in the closet. They are my partners in crime! I rely on them so much, and they always complete each task with a positive attitude and a smiling face. 

Heels: Mandatory or optional? TOTALLY optional; especially here at Teen Vogue! We love a good sneaker, and we have a full colorful converse shoe wall to prove it. 

What is an industry pet peeve of yours? Hmm, tough question! Not exactly a pet peeve, but when we have jam packed day with a run-through and packing trunks it’s stressful getting all the correct pieces in on such a tight time crunch. I really wish I could have a few more hours in the day sometimes!

Twitter or Instagram? Instagram all the way! It’s so prevalent in our industry. It’s your chance to let your own creativity shine. But not to say I don’t love Twitter as well – it’s an easy way to read up on the latest news, and to get a good laugh when someone tweets something witty. Follow me! @katiemsapp.

Do you have any advice for people trying to break into fashion publishing? Be strong and confident but always remember to treat people with respect. Making strong connections with people in the industry is crucial! Intern as much as you can, maybe snag a freelance position to get yourself started, and interview with as many people possible. 

What word/phrase/motto do you live by? A smile goes a long way!

[onthemasthead]

Kim Hastreiter, Paper

The co-founder, editor, and publisher talks changes in publishing and that Kim Kardashian cover

You once described in an interview that your job as an editor was to “get rid of everything mediocre;” do you think that ability is learned or is it a talent someone is born with? 

I hate to tell you, but I’m afraid that this ability — to separate the mediocre from the great — is likely a talent I was born with. I think it has to do with being "right brained". I would always try to follow what my geeky accountant was telling me about profit, loss statements, and business projections, but it always felt like someone was speaking Chinese to me. I would watch his mouth moving, yet could never understand what he was saying. I am completely stupid at most “left brain" things like business financials and money projections, while I am super good at zeroing in on a great unknown young artist or picking out the best work that an artist has ever done. I used to notice my accountant would wear a mix of poor clothing choices and was baffled about what it was that I did; I finally realized that there are a lot of different definitions of "smart."

Some folks can be incredibly book smart, while others can be incredibly street smart or visually smart. Someone, like my accountant, can have an innate sense of projecting profits and losses ten years down the road, while I have an amazing ability to find a Hermès scarf or a cashmere coat in a Salvation Army bin. He can talk to banks easily, while I can pick the absolute best photo from a shoot in two minutes flat, help direct a tired brand how to dust itself off to appeal to young folks, or help push a fashion designer into the direction they are most talented in. I am super intuitive and have very good instincts. I can tell which brands will go out of business in the next five years because they just don’t get it, becoming more and more irrelevant, and I bet I’ll be right (even though I can’t do a financial report).

How have magazines, as a format, evolved and what role do they play today? Magazines have evolved tremendously since the Internet arrived. Young people still love to hold a beautiful object, look at a beautiful, well-designed page, and read an amazing story, but no one goes to magazines (or newspapers) to engage of-the-moment news whether be it cultural, political, or just for what’s happening. Magazines also can’t exist as separate entities because the print business model is outdated and defunct. You cannot exist as a business if you just have a magazine because magazine and newspaper advertising no longer exists as a primary marketing tool for brands. The entire model of magazines needs to flip. Print can still be a small part of a communications brand, but it is just a small piece, and magazines do not lead companies anymore; communities and content lead companies. It needs to be about the message not the medium, and the medium reach can be huge now because of digital. The entire print paradigm from the 20th century is a dinosaur. Magazine brands need to flip their business model. They can still make magazines, but in order to succeed as a communications company print on paper must function as a smaller yet more innovative piece of the communications puzzle going forward. That said, print magazines are still proving to be a coveted purchase and collectible for millennials; magazines can still offer a lot that digital cannot. They can be beautiful, provocative, visual, intellectual, and even pop objects that folks still want to hold and look at. I think the biggest change is that magazine content these days should have less to do with their previous format of covering timely stuff that’s going on and more to do with innovative ideas that engage their community.

What are the essential habits and skills you think every editor should possess? As an editor, these days, you need to make your magazine a small piece of a big idea puzzle. The content within the idea needs to be developed so it can be delivered, not just on the printed page, but across all platforms simultaneously — from digital to videos, podcasts to social, and experiential. It also needs to be content that can engage people. 

Don’t get me wrong: There is still a place for great editors. Great editors still need to know how to recognize, create, and craft content by thinking differently. Coming up with amazing ideas and boiling content down to its best essence; removing what is not great (whether images or words) so only amazing content remains. Fierce editing makes everything stronger.

If someone thinks they have what it takes to be a great fit/asset at the magazine, how should they go about getting your attention? Write me a great letter/email that will inspire me, shake me up, and show me clearly why I should pay attention. I have gotten many peoples attention over the years this way. When I write a great letter or anything else. I edit it, and edit it, and edit it until it is great. Not good. Not mediocre. Great. Everything you do strive to do needs to be the best. I don’t want lazy or mediocre — it just doesn’t make me happy or excited.

How did the Kim Kardashian cover evolve from an idea to #break(ing)theinternet? The idea of Kim Kardashian was proposed to me (by my amazing Chief Creative Officer, Drew Elliott, and my Editorial Director, Mickey Boardman) as the cover of our 30th anniversary issue. I rejected it because I didn’t feel this made sense to celebrate three decades of our Original Gangster PAPER brand with that type of person on the cover. Within 10 minutes, Drew and Mickey came back to me and said, "We have another idea. What if we make another issue in November that would be all about trying to break the Internet? Everything in the issue would be collaborations with social superstars. We would only have people in the issue with enormous social followings…and Kim Kardashian could be on the cover. We will release everything on the Internet on the same day to create bedlam.” This was a GENIUS idea so I said, "bingo, lets do it”. Drew and Mickey led the charge; it was really their baby. It was a super exciting and amazing adventure that morphed into something even more than we had ever expected. Bravo to Drew and Mickey!!!!!

What is a favorite published piece that you’ve contributed to? I have so many favorites. I love when I engage others to create stuff for us that is unique, original, and amazing. I loved when I invited mentally disabled artists from the Creative Growth Art Center in Oakland, California to illustrate fashion collections for me. I also loved when I invited via a "brief" (one of my killer letters to get the attention of people I wanted to work with) an amazing assortment of communication gurus to "rebrand America" after Obama was elected. 

What can you not work/live without? Amazingness. I mean art, the people who create it, and who are amazingly creative and inspiring.

What is an industry pet peeve of yours? My pet peeve in the fashion world is the concept of "one day you’re "in" and the next day you’re "out””. The fashion world tends to crown designer "geniuses" of-the-moment, then dump them when they are "off trend" a year later. This is horrible! How can someone be a genius today and not a genius in two years just because trends have changed? 

Twitter or Instagram? Instagram. I really don’t tweet anymore. And Facebook is for the elderly.

Do you have any advice for people trying to break into publishing? Don’t think you can survive in the business of making magazines.

What word/phrase/motto do you live by? It's always better NOW than it used to be.

Kim Hastreiter was photographed by Richard Phibbs.

[onthemasthead]

Brooke Shunatona, Cosmopolitan

Cosmopolitan.com's Assistant Fashion and Beauty Editor redefines hustle

What is an industry pet peeve of yours? No pet peeves, really. That’s why I chose this industry. Even parts that are slightly annoying are way more fun than what most of my friends do all day.

What is a must-have on the job? An iPhone. I’m always taking pictures for Cosmo’s Instagram.

What is your favorite work perk? As a fashion assistant, I love having the freedom to wear just about whatever I want (within reason). Editor-in-Chief, Joanna Coles, even complimented me on my crop top one day in the elevator. The Cosmopolitan.com environment is super fun and cool, which makes going to work every day that much better.

I also get to meet amazing people, coordinate photo shoots, do fashion market research, and try out all kinds of new beauty products and techniques. My job is full of perks for people who like fashion, beauty, and writing. 

What was it about being a magazine editor that attracted you to the industry? Getting to create something that a lot of people would read and enjoy. 

You attended one of the most notable journalism schools in the country: University of Missouri (Mizzou). How did the media-focused college culture help you in the industry? People underestimate Mizzou sometimes because it’s in the Midwest and not in New York, but one of the greatest things Mizzou can provide its journalism students that other universities can’t is actual work experience. They make you work at different kinds of publications (aside from internships), so every magazine student graduates with a portfolio full of published clips. Having that at an interview is invaluable in this industry.

How did you make the transition from college to a career in New York?My advice is to not spend too much time in that transition stage between graduation and moving to New York (if moving here is your goal). It’s easy to think of excuses of why you need to wait, but don’t. I flew in from Dallas for an informational meeting with Chandra Turner (executive editor of Parents and founder of Ed2010), and she point-blank told me not to wait until I have enough money saved to move to New York because I’d never actually have enough money. If you want a job in magazines, you have to move to New York and figure out how you’re going to make it work financially once you’re here. I walked out of that meeting and bought a one-way ticket to New York on my phone outside the Meredith building. 

You tweeted (just before New York Fashion Week last month) a screenshot of your phone with 9,797 unread emails; what are your tips for staying level-headed, organized, and on top of your tasks? Haha! That screenshot was of my personal email inbox, which definitely suffers from neglect most days (especially during NYFW). I stay pretty on top of my work emails though. For my job, organization and time management are everything. My advice is to focus on the important things, don’t stress over anything, and learn how to problem-solve and work efficiently. That’s honestly 75% of any job I’ve had.

Since you graduated two years ago you've worked at some amazing publications. What is your advice for applying and getting editor's attention during the application process? Get to know people in the industry. If you don’t know anyone, reach out to your friends and see if they do. Every job I’ve had so far has been because someone passed my info along to a friend. If you show you’re passionate and you have genuine interest in the position at the publication you’re applying to, people in this industry are more than willing to help you out and pass your resume along to someone they know.

You're now at Cosmopolitan, which has undergone a lot of changes since Joanna Coles took over about two years ago. What is it like being at a magazine that is drastically evolving its tone and direction? It’s exciting to be a working at a publication that has so many eyes in the industry watching to see what we’re doing. Cosmopolitan.com is always thinking of new ways to reach more women and change their perceptions of what a women’s magazine is. Why should only men’s magazines include articles about politics and news in addition to their entertainment content? In the past, you probably would’ve only picked up a copy of Cosmo or visited Cosmopolitan.com just to read the sex tips. And although Cosmo still has great tips and hilarious sex & relationship writers, Joanna Coles and online editor Amy Odell both strive to include pieces and posts that appeal to all the aspects of being a woman — not just sex. I work for online, so I can really only speak for the website, but Cosmopolitan.com now has thorough feature pieces on serious women’s issues, excellent career advice, and, my personal favorites, original fashion and beauty content. If you haven’t visited the site within the last year, you definitely should.

What is a favorite published piece that you’ve written? It’s called “20 Life-Changing Ways to Use Bobby Pins.” It was the first post I wrote at Cosmopolitan.com that also included original photos, not just stock images. I asked all my coworkers if I could play with their hair and had our photo editor take pictures for the post. It has 250,000 shares now, which still blows my mind. 

What is some advice you have for others trying to break into the industry? First, move to New York. Then work really hard. Get to know anyone who’s already in the industry, and take advantage of every opportunity. You’re never too good for any job when you’re just starting out. Also, always be kind and write thank you cards.

Twitter: @brookeshunatona

Instagram: @brookebighorse 

Brooke was photographed in the Cosmopolitan offices by Kathleen Kamphausen.

[onthemasthead]

Essentials: What Editors Can't Live Without

No matter what publication (or site) you work for, stocking your bag with these indispensable items will have you prepped and prepared for anything