How I Grew to become… A Trend Editor

A Central Saint Martins graphic design graduate, learning “the whole lot from filmmaking, illustration, images,” Ben Cobb launched his writing profession in movie journalism and sometimes wrote for vogue titles. A few of his earliest interviews had been with the likes of designers John Galliano, Jean Paul Gaultier and Diane von Fürstenberg.

“I’m curious about folks,” the style editor shared in a LinkedIn Live broadcast final week. “Whether or not it was a filmmaker or designer or a novelist, I by no means separated them an excessive amount of.”

Cobb joined Dazed Media’s One other Man, the place he labored for a decade, leaving the publication in 2019 after 4 years as editor-in-chief. He then joined influential type publication LOVE as co-editor-in-chief in early 2020 earlier than serving to to launch Good Journal, a artistic group and content material platform, alongside his former LOVE colleague Katie Grand. In 2021, he joined the Evening Standard as editor of its supplementary life-style and tradition publication, ES Journal.

Now, BoF Careers shares insights and actionable recommendation from final week’s occasion, Building a Career in Fashion with Ben Cobb.

How did you begin working within the vogue business?

It was by no means my plan. I attempted the whole lot to keep away from it for a very long time. I grew up round plenty of buddies and a few household that labored in vogue however beginning out, my two most important passions had been writing and movie. I began writing about movies, which appears a pure approach to put these two passions collectively.

I’m curious about folks. So whether or not it was a filmmaker or designer or a novelist, I by no means separate them an excessive amount of. So I used to be writing about movie for some type magazines and that grew to become, “Will you go and interview designers?” and it instantly introduced collectively a lot of totally different components.

How did you impress whereas beginning out as a author?

[I did] very early interviews with designers [like] John Galliano and Jean Paul Gaultier, I had a improbable time out with Diane von Fürstenberg round London. […] I by no means [felt] significantly starstruck or intimidated by massive characters. I feel, if something, it most likely helped me being a bit naive as a result of possibly I requested stuff that most likely you’re not purported to.

Discover ways to say no. An enormous a part of the job is what you don’t embrace, filtering right down to what you need to say.

With these early experiences, analysis is vital. [I would] do plenty of heavy analysis […] and get a good suggestion in my head, to construct a personality research, a portrait of what I feel that particular person is like. Then invariably — and the factor I like about interviewing folks is — it goes out the window very early on. […] You want that type of wealth of analysis behind you to have the ability to let it go.

What core abilities do writers and editors must work in vogue?

It’s as outdated because the hills, however writers must respect deadlines. […] I went straight from producing {a magazine} twice a 12 months to 1 every week, and it’s good to [take a] stand about deadlines.

Discover ways to say no. An enormous a part of the job [is] what you don’t embrace, filtering right down to what you need to say, and which means it’s plenty of rejection and it’s good to know learn how to talk saying no and rejecting stuff in an expert and aware method.

What recommendation would you give junior writers pitching tales to publications?

Usually, we’re all wanting on the identical tales, pulling from the identical internet in some ways. I feel folks can get tied up within the concept of unique tales, and that’s crucial, however generally it’s about telling a identified story that both we’re all curious about, within the specific second, [and] telling that in a particular method — in your method.

Every journal has a really totally different masthead. Don’t blast out to everybody you already know. Do your analysis, be actually particular about what titles [and] what magazines you like to learn. Goal them [and think] the place you need to see your work printed and your tales instructed. Concentrate on them and have a look at the totally different publications — titles imply barely various things.

Spend a while pinpointing who’s the best particular person [and] simply attain out. There’s additionally key roles — whether or not it’s managing editors or assistants to editors — attain out and don’t be afraid to ask who’s the perfect particular person to ship this to, or get them to level you in the best route. It’s not only one shot — you need that preliminary attain out to actually join and rely.

What does your day-to-day appear to be?

It actually retains me on my toes — on a regular basis is totally different. [Today,] I’m ending writing one thing, […] then operating round city, taking a look at some venues for some occasions, signing off some video content material for social movie clips — on a regular basis is filled with surprises.

The enjoyable a part of it — and the problem — is placing on all these totally different hats. I feel it’s what I like probably the most about it’s, placing me into probably the most extensive number of arenas than some other place I’ve had earlier than.

What do you search for in junior expertise at present?

Creativity and having the ability to be a bit free with stuff. Issues transfer so quick. Earlier than, I’ve been fairly like a canine with a bone, pursuing one thing doggedly till the bitter finish when generally, it’s figuring out when to let stuff go. You possibly can come again to it. Generally that ultra-focused imaginative and prescient will be detrimental in a method — it’s a strong power, however for me, being a bit fluid with stuff may be very wholesome on this media panorama.

The place do you see the way forward for vogue media going?

The core of it’s at all times going to be about storytelling and high quality. The best way issues are creating, it’s inconceivable to know what these new platforms will likely be [and] what these new methods of connecting together with your viewers will likely be.

Generally that ultra-focused imaginative and prescient will be detrimental in a method — it’s a strong power, however for me, being a bit fluid may be very wholesome on this media panorama.

[But] I feel nothing’s modified. It’s nonetheless about telling nice tales, taking pictures wonderful imagery — that’s at all times what the job is about. How that connects and the way you discover your viewers is absolutely thrilling. What number of choices there at the moment are — who is aware of in two years what’s going to be accessible to us. I discover that thrilling as a result of it modifications the best way you consider what you’re doing. I feel it’s a technical factor, and that’s only a route to search out your viewers. Primarily, the center of it stays.

What do you consider are important abilities to work in vogue?

Resilience. [Fashion is] robust, however it recognises expertise. Simply preserve going and perceive your price. Keep true to your self. Maintain on to these two issues — your price and what you’re all about. Simply preserve going till you get in. It’s a tremendous business for recognising new, thrilling expertise and bringing that up. It’s price it. […] There’s holes and discover the gaps which you can fill. There’s room for everybody. You simply must determine what space you’re going to search out.

Uncover editorial and media roles on BoF Careers at present:

Deputy Editor, Burberry — London, United Kingdom

Copywriter, Gant — Stockholm, Sweden

Copywriter Manager, Tory Burch — New York, United States

Content Editor, Chico’s — Florida, United States

China Editor, The Business of Fashion — China

Disclaimer: This interview has been edited and condensed for readability.