How to get into Fashion Journalism with Alexa Chung | Future of Fashion | British Vogue

surprise we are back for a special edition of the future of fashion or thought as we like to call it which makes you the fans officially fathers I know it's not ideal but it's gonna have to do sorry anyway we are here to talk about magazines answering your burning questions about the jobs available within the highly desirable world of fashion publishing unfortunately vogue with the only people who'd let me in the front door so we've had to make do but it does mean we get some exclusive access behind the glossy pages of an iconic magazine Alexa morning morning how are you good taste a bit like what's happened so far not a lot at the moment of staff coming in got some flowers for Alex Sherman house for Alex be told her she knows she knows Colin honey cough huh not really not by much he must have seen some things happening especially all these cameras well I mean you ever seen anyone having sex in my newsrooms what I think we've seen none of that we do look for it that's what we're saying it we dis practice where we are and what what this building is all right you know this is Condon F publication's obviously they do all the magazines behind us they're in order of when the magazine first came out vote was the first yeah after vogue a sand garden Bryant's what up to love the last one do you read the magazine I read bits and pieces like people I know obviously in the magazines yeah I'm not a football person are you yeah my ask your arsenal a big time yeah but we have to you know if we want to keep that job we've got just do what we're told early yeah since launching in 1916 British folks faithfully reflected the changing social landscape whilst connecting the work of some of the most talented designers in the world 100 years on Vogue has grown into one of Britain's most iconic publications created each month by a team of the most renowned fashion journalist and highly professional contributing editors in the country spread over an entire floor of the Conde Nast headquarters in London's Mayfair a staff of over 50 beaver away over each issue which takes around five weeks to complete hello let's run vogue what do you want a stroll through the floor will lead you from the art room to the sub-editors past online and onto the fashion cupboard each departments doing their part produces lovely shiny fashioned Bible each month for your reading pleasure what better place to start our fashion Safari than with editor-in-chief Alex Schulman who with impeccable taste in a calm demeanor has been helming the magazine for over 24 years which makes her approximately 2020 not year 29 years old if you can just explain what you actually do I mean I know your title but what what does it encompass as editor I guess you're like the conductor hmm in a way because what you've got is you've got this Orchestra of different people doing different things so somebody is making photographs somebody is calling in the clothes somebody is actually commissioning a writer and I'm kind of overseeing it and sort of you know pulling in one person to do a bit more of this or a bit less of that so one level it's that and then on the other level I guess it's having an overview of what we're actually going to create yeah and hopefully articulating that to people so they can get on and do it and the great reward is that you're able to show your interests via the magazine to a whole load of people and that I think is sort of great privilege of being an editor and when you were growing up did you have a dream job and a clear idea of what you wanted to be or was it that you discovered that along the way you were just exploring what interested you oh I so did not have a clear idea of what I wanted to be if I wanted to be anything and it changed quite a lot yeah I wanted to work in music business I really was what I did first when I left University yeah but that didn't work out very well kept getting fired but I didn't ever think I'd work in magazines and what was your first job in the dragula see yeah I was a secretary we were called secretaries then not personal assistants yeah to the editor of a magazine now doesn't exist called over 21 and my boss was wonderful and we sat together at the table so I sat opposite yeah and so I kind of literally shared her life really and you know heard every telephone calls she made and did all typing for her I had to do the account search e which is unbelievable that I was given that to do because I'm not very numeral II all the articles would come in by mail because there was no email then I saw how people would say you know dear Shirley I've had an idea about you know doing three women who working in the countryside or something well you know can I do a feature for you with some farming features yes yeah exactly and you know and I'd see the ones that would attract attention and the ones that were just like put on their slush pass so you were learning how to curate yeah well I learned how to pitch yeah I learned how to approach people I learned how to kind of reply to things and I think that was really really important because when I wanted to move on then I started trying to pitch articles myself as a freelancer but just as a secretary of somebody but actually I did it really well and I got quite little work and that enabled me to move on this is I MTV Cribs this is where I keep my dockets uh here's some clothes chambray denim bolero photo copier really good for Christmas parties you can sit right on it I've got some vintage folks here Elton in between Liz Hurley's leg actually remember this issue the gold issue December I feel like was 1999 what 2000 wasn't it I don't know I just remember looking at it in like wanting to be in like nice ready to work at Vogue yeah this was my dream job I wanted to work at Vogue but then I didn't know how to do that a lot of you have expressed a desire for a better understanding of exactly how to get a job at a magazine but as senior fashion assistant Lucy Bauer's story shows there's no textbook route into the industry it's quite a hidden world and I like styling what does a stylist do my mom still doesn't understand so I guess it was a sort of journey of discovering where I fitted in in the fashion industry I've kind of majored in human resources in my degree so sidetracked and got a job working for a retailer in the HR department did that for a few years loved it obviously got exposure to like the buying team the designers the PR so kind of got a bit more of an idea of how things were yes and then I got an internship at Sunday Times Style magazine name is Lucy Ewing yeah so as a 32 year old intern and then I heard through another friend that Jane Howard's looking for an assistant so she awoke she is a she's a contributing editor bag so she does loads of different publications yeah we just hit it off and so as Harris's sympton half years okay here is this is Lucinda's March story okay and which ones actually just shopped so what does this show represent this sheet is so Lucinda will go through the shows and she'll pull together her looks but she'd like to call in so this is already the see means it's confirmed okay not canceled not canceled now that would be a disaster if all they're not grading the designers yeah see me gonna see my vision a plus a lot of my job is working out get yo these looks here on time and then getting them back again big with so many different designers how what do you do if they can't get you the look you want on the right day that you're shooting you work out so you can get the right list there isn't you don't take no for an all know where do we go this way do you ever take things off the hangers and try them on of course not no I would that story's amazing who shot that so that was Fran band's styled entirely upon shot oh yeah yeah it's amazing yeah stunning that was shot in Jamaica um so the first step would be Fran and Tyrone discussing what they're going to shoot where they're going to shoot it speaking to the bookings department working out if it's possible to get there in terms of budgets logistics timing the assistant will then speak to all the different PRS anyway sometimes things get made for us adults maybe speak to young designers maybe yeah um how many suitcases you think depends Lucinda puts together quite tight at it so on average I take maybe eight to ten suitcase eight to ten three hours you have any tight edit yeah okay the more magic happens but yeah so there's a lot of people involved it's a like yeah or how many give me a rough a guesstimate of a figure I reckon about like fifty people even get past this new fifty yeah she's got the courage you've got the post room you've got various different people who speak to on the phone if you can't get a look you have to speak to the people right there term and then there's we've got people here like if you can't get something yeah there's a yeah lot it's a lot and then I'm just doing this yeah exactly looks nice for one middle page hi sorry I'm Alec sir said the picture is fine so all okay to go ahead and how do you take on new people at Vogue the people just writing to you directly and ask it's a mixture we have a really good work experience and intern program and quite a lot of people have come by that sometimes someone will just write me a letter out of the blue and I think they sound interesting and some of my best hires have been via that they've come in and I thought I really want to have this person yeah on the team and there's a certain amount of luck getting in the right place at the right time because quite often you can be in the office doing one thing and then somebody leaves and there's a kind of you know shifting of the tectonic plates and everything has to move around and you can find yourself into it in a different role I mean that's what happened to me all my life there was a calculated path that was more being in the right place at the right time up so yeah you could be in the right place the right time and then you've got to exploit that moment hello get our you page who is this what time you get in every day fashion director Lucinda chambers now one of the most recognizable faces in British fashion unbelievably started her career at Vogue via an impulsive cold call to the office but why did that what did you say I said it you asked for Oh personal do you remember what your pitch was I said I went round the corner and work at Topshop um can I is there any chance I come in for an interview and she said yes her assistant was ill that day she picked up the phone that was really my lucky day I came in and she said you've never sat behind a desk before you've never done anything remotely that's required here she said but I like you and then she went through you say she said I've got you the worst job in the building I saw you here and it was secretary to the education and you tell us what your job title and what does that mean job title is fashion director of British Vogue what it means I don't know it probably means different things to different people Alex can use me as a sort of sounding board when we want to hire somebody or when we're wanting to reject things and I'd like to think the time how right her man I've grown up on Vogue with her so right hand woman my hand woman and then I mean the hierarchy thing isn't so important at how I feel day-to-day within the room because within my team we're all doing exactly the same job more the fashions is an exactly same job I don't do anything better or worse or harder anything I'm incredibly privileged to have that title and I'm very proud of it is it something that you aspired to be we were growing up and I've just described to be an assistant and I was so crap about coz when I Sasha and fascial I didn't know there was such things I was quite ignorant about about fashion I didn't know what I wanted to do and I went to art college and I thought I was blue something completely different so there was never a game plan do you think that styling is an art form where is it do you think if we can learn how to do that or they're just born with that okay Sheila you can take you love yeah you can take you know I bet I mean I get really upset when people say oh you're just born with style that's just Pollux I think you can learn it like everything else you can hone a craft is there a process that you follow or is it different every time that you get inspiration from something completely random or is it more planned and I think it's different every time and thank God it is so because I think we're incredibly lucky that no day is the same no story is the same if you screw up there's another magazine coming out there's another chart there's another crack and do you screw up though to see things you know printed and you're like no that wasn't yeah really that's just I think the Nokes like you always thinking like you know the way it's presented everything's kind of perfect but yeah you don't think about how people might oh my gosh in fact I almost really see Australian think job well done I mean I just think but is that what motivates you prostrating you yeah pops but I think that's where the driven link comes in it is like building blocks you know you could have lots of different ideas and I can go down the street and think I love the way with Lee's all the leaves they're like electric yellow on the pavement and I think oh how could I do fashion to it you know the leaves I don't know you just see everything with with possibility mm-hmm and most often they will come from the clay and the wonderful designers that we have who constantly give us inspiration but I also think everybody has seen all that stuff on the kaepa they've seen it the militia it's happening so where does that leave us as fashion editors as stylist it's you know we can't just photograph something that everybody's seen a thousand times in the way that you know we have to reinterpretation we have to make it a kind of Vogue thing and we have to see it in a different situation on a different girl in a in a different way would you have advised people watching this on a particular route that they could take in order to work in publishing and work at a magazine yes your fuel internships amazing and I knew it's really hard you know when you say somebody oh it's great to be an intern how am I going to actually live how am I going to what floor I going to sleep on how do I actually put some lunch down my throat how free thinks it's really really hard and then hopefully thinks where there's a will there's a way you know we have two interns every month they're sitting right next to me anybody can ask me anything make the most you've got four weeks time to shine but I would say if somebody hasn't come up to me and said listen Can I grab you for 10 minutes I think God missiles urgency um the other thing is that if you are really good into it ok so low our intern hmm where we only shoot yes it's freezing Pollock cold you know I was taking my bra off because I didn't like the way the Alexander Wang looked without a bra anybody got a black bar or I got a black bar I would say weirdly out of my black bar and lo the intern got my couch from the van and pushed on me as I was like change that's like squish my bras and whack it on Edie and she had the right instinct I've not too much watching it but she was there yeah like there she was looking the whole time and everybody around her what they were doing what their job was all the pictures Maya had them on the board and we were doing filming and stuff and after filming and we all packing up and stuff and lo said listen did you mind if I look at the pictures I was I know I'd be delighted and I'd love to hear what you think of them yeah how could I not want to show the picture so we just work two years on that she's packed suitcases for like you know seven o'clock in the morning and got them ready of her house almost proud of it she would like them then say Alex hmm I get fired now tune in next week for the second half of the Voges special or we'll be taking a look at the surprisingly racy world of online analytics sexy 0:05 and getting off enfants with creative director Jamie Pearlman or lovable

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