So, I managed to power through my first day, week, photo shoot (the subsequent returns session) and come out the other side to face what I hoped would be a less daunting second week! It was the first, but definitely not the last, time I was given sole responsibility for packing the clothes, shoes, accessories and kit bag- preparing for every possible eventuality during shoots was now officially my responsibility.. Of course, this is what I had been waiting for for so many months! The opportunity to prove I can plan, think ahead, anticipate any problems and deal with them calmly and efficiently. In theory. The reality, however, is very different from this when the shoes are too big for the model's feet, the photographer isn't happy with the shots and you're nearing 12 hours on set. Riiiight around this point my contingency plans flew out of the window. I was feeling flustered, anxious that I might not be doing what I was meant to be doing, that I wasn't doing enough or even, God forbid, that this somehow might be my fault. This is the situation I found myself in during what I thought would be my easier second week..
However, before long everybody had sprung into action- defiant in the face of these minor crises. Though the impending office Christmas party later that evening probably helped with that somewhat! Before long we had the willowy photographer's assistant, an unbelievable stroke of luck given she was a former model, striding up and down the make shift runway in Charlotte Olympia heels and even the photographer's mood had lifted- signified by the upbeat tones of Rihanna thumping through the studio. The 12 hours on set couldn't be helped in the end but seeing everyone dressed up in their finery, looking pristine despite spending most of the day crouching over a monitor evaluating each shot and with smiles all round at the end of the day I knew we'd done a good job. Seeing the images go live on the website shortly after was even better and something new to me- it provides the type of instantaneous satisfaction that you rarely get with print.
All in all, it was an altogether new experience. At its core styling a shoot for a website rather than a page in a magazine might be largely the same but the subtle differences between the two make a huge difference. There have been times during shoots for various other magazines where things don't work out exactly as planned, but these things can often be tweaked at a later date either by the photographer or the art team. Since a proportion of the shoot for The Outnet is shot as a video the expanse of space between the model's heel and the back of the shoe couldn't simply be erased or filled in; not to mention that it was a walking shot- effectively turning the gorgeous festive heels into ill fitting flip flops. I'm sure there's a lot more to learn about the difficulties that come with shooting a full story and more on a weekly basis, but this was a good place to start!
Monday, 8 April 2013
Tuesday, 2 April 2013
Net A Porter
If, like me, you are a consumer of all fashion- e commerce, magazines, blogs, street style websites- then you will be as excited to hear about my time at NAP as I was when I first found out I'd got the job. More than anything it gave me a huge confidence boost, something I really needed by the time I'd reached my.. Sixth placement, to believe that I was good enough to secure a paid position and that I could do something different. Just because your experience isn't in the exact field that you're applying for it doesn't mean you're not capable and that is the most important lesson- Try again. Fail again. Fail better. Not getting a job can sometimes lead to better things.
So let's cut to my first day at the NAP headquarters in Shepherd's Bush, London. The space is intimidating- think sleek monochrome furniture and plasma screens playing videos of chic women discussing their personal style, I felt suitably scruffy to say the least. I turned up for my induction along with fifteen other people, the only differences between them and me being roughly a 10 year age gap and the fact that the majority of the women were wearing heels with their outfits, so turning up in denim cut offs and biker boots probably wasn't my finest hour.. Gradually I realised there was genuinely no dress code for the office but I didn't get the common sense memo about dressing appropriately for your first day on the job- you live and you learn!
I was certainly thrown in at the deep end on my first day, half the fashion team was away in LA shooting the chic chat videos for the website which left myself and the Styling Director for The Outnet, Eve Thomas, muddling along together. It's always a tricky time starting something new, particularly your first ever paid placement, and being unsure of where everything is, who anyone is or what you should be doing. For me, it was the first time I was given sole responsibility for the fashion cupboard, returns and samples etc- in previous placements I always had the support of other interns to rely on. Add to this the fact that I had also never really been left to my own devices before, with the luxury of not being monitored constantly and being handed specific tasks, and I was basically a nervous wreck. The pace of working in e-commerce is the thing that struck me the most. It is a very different thing to work for an on line company than to work for a traditional print magazine; while stories are shot months in advance for magazines such as Vogue, at The Outnet there are shoots virtually every week for the site's homepage as well as themed stories such as luxe traveller and work wear. I went on my first shoot with NAP in my first week which was fairly frightening- knowing everyone's rhythms and the way they like to work with the photographers and hair and make up is so important to how smoothly the shoot runs that it was a little intimidating to be prepping for a shoot right off the bat. However, it all went smoothly and seeing the images appear on the site the next week definitely boosted my confidence that I could do it all over again!
More on my solo shoot next time, and below some snapshots of my first shoot on the job!
So let's cut to my first day at the NAP headquarters in Shepherd's Bush, London. The space is intimidating- think sleek monochrome furniture and plasma screens playing videos of chic women discussing their personal style, I felt suitably scruffy to say the least. I turned up for my induction along with fifteen other people, the only differences between them and me being roughly a 10 year age gap and the fact that the majority of the women were wearing heels with their outfits, so turning up in denim cut offs and biker boots probably wasn't my finest hour.. Gradually I realised there was genuinely no dress code for the office but I didn't get the common sense memo about dressing appropriately for your first day on the job- you live and you learn!
I was certainly thrown in at the deep end on my first day, half the fashion team was away in LA shooting the chic chat videos for the website which left myself and the Styling Director for The Outnet, Eve Thomas, muddling along together. It's always a tricky time starting something new, particularly your first ever paid placement, and being unsure of where everything is, who anyone is or what you should be doing. For me, it was the first time I was given sole responsibility for the fashion cupboard, returns and samples etc- in previous placements I always had the support of other interns to rely on. Add to this the fact that I had also never really been left to my own devices before, with the luxury of not being monitored constantly and being handed specific tasks, and I was basically a nervous wreck. The pace of working in e-commerce is the thing that struck me the most. It is a very different thing to work for an on line company than to work for a traditional print magazine; while stories are shot months in advance for magazines such as Vogue, at The Outnet there are shoots virtually every week for the site's homepage as well as themed stories such as luxe traveller and work wear. I went on my first shoot with NAP in my first week which was fairly frightening- knowing everyone's rhythms and the way they like to work with the photographers and hair and make up is so important to how smoothly the shoot runs that it was a little intimidating to be prepping for a shoot right off the bat. However, it all went smoothly and seeing the images appear on the site the next week definitely boosted my confidence that I could do it all over again!
More on my solo shoot next time, and below some snapshots of my first shoot on the job!
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| Cheeky snapshot behind the scenes |
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| The photographer's dog Lucille in her Security hoody |
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| Her little face is so damn cute! |
Monday, 1 April 2013
Instyle!
Some good news, finally- signalling that I am heading in the right direction after all these months hoping that something good would come of all the internships and placements! I am returning to Instyle on Monday, but this time in a more permanent position for 3 months or so. It'll be strange to be back at one of the first magazines I interned at almost a year ago but I'm hoping that this way I'll be able to see how far I've come back and look at everything I've done so far with pride. Responsibilities this time, I think, include more than doing returns in the cupboard- though I'm sure I'll still do a fair few of them while I'm there! I'm looking forward to being trusted with doing more this time; I want to feel as if I'm actually contributing something to the magazine- whether that be on a shoot or in the office. The first time I felt as if I was actually a useful member of the team was while I was at The Outnet- that was the without a doubt the hardest but most productive placement I've had so far. Every day was ridiculously tiring but I could see a real result of the work I was doing day to day- perhaps one of the more rewarding aspects of working in e-commerce rather than in print magazines- and that ultimately gives the satisfaction you crave from a job.
Of course it helps to stay in contact with the people you've worked with and for at each magazine you go to, and I'd like to think that there's at least one person from every place I've worked at who would remember me for a future position- I do make it a point to stay in regular contact just so they know where I'm working and how much experience I've gained since they last saw me. That's one of the most important things for me, to show each magazine that I've progressed since I worked with them. If they can see that you've grown in confidence, ability and experience that shows them that you're willing to learn and push yourself. That's how I knew about the 3 month position at Instyle- I kept in touch with Robyn, the senior fashion assistant, and dropped her an email asking if the position was available. Luckily for me they rolled out the longer term placement at the magazine while I was there last year and a girl I was in the cupboard with, and who I've stayed friends with, kicked it all off. Thankfully, she did an amazing job and they've decided to continue with the programme! As with many things in life, it is largely a case of right place, right time when it comes to securing placements and jobs- it worked out this time for me but that doesn't mean I didn't have to interview or go through much the same proceedings as if I hadn't been there previously.
I met with the Senior Fashion Editor, Natalie Hartley, which was absolutely terrifying. I'd never been important enough to actually take up a senior editor's time so this was the first time I found myself sitting face to face with Natalie and having, what transpired to be, a conversation! Interviews like this can often blind side you because you're always waiting for a trap- something that tricks you into tripping up or exposes a weakness but in this industry that usually isn't the case. They genuinely are interested in talking with you, finding out about what you've been doing with your time, where you see yourself in the long run and, as was the case with me, who your favourite designers are! Obviously the questions are somewhat designed to ascertain whether you'd be a compatible member of the team, it being fairly small at Instyle this is something important to them, and whether your style and aesthetic fit with the particular brand of the magazine. So while questions aren't designed to trick you it is worth while considering your answers, difficult in an interview situation, I know, but if you can anticipate key questions it'll make the whole experience a little less nerve racking!
P.S. I know that I was going to write some posts about my time at the Net A Porter group, and I still am so I'll be covering my time there in the next post before talking about my role and responsibilities at Instyle and hopefully I'll be back on track soon enough.
Of course it helps to stay in contact with the people you've worked with and for at each magazine you go to, and I'd like to think that there's at least one person from every place I've worked at who would remember me for a future position- I do make it a point to stay in regular contact just so they know where I'm working and how much experience I've gained since they last saw me. That's one of the most important things for me, to show each magazine that I've progressed since I worked with them. If they can see that you've grown in confidence, ability and experience that shows them that you're willing to learn and push yourself. That's how I knew about the 3 month position at Instyle- I kept in touch with Robyn, the senior fashion assistant, and dropped her an email asking if the position was available. Luckily for me they rolled out the longer term placement at the magazine while I was there last year and a girl I was in the cupboard with, and who I've stayed friends with, kicked it all off. Thankfully, she did an amazing job and they've decided to continue with the programme! As with many things in life, it is largely a case of right place, right time when it comes to securing placements and jobs- it worked out this time for me but that doesn't mean I didn't have to interview or go through much the same proceedings as if I hadn't been there previously.
I met with the Senior Fashion Editor, Natalie Hartley, which was absolutely terrifying. I'd never been important enough to actually take up a senior editor's time so this was the first time I found myself sitting face to face with Natalie and having, what transpired to be, a conversation! Interviews like this can often blind side you because you're always waiting for a trap- something that tricks you into tripping up or exposes a weakness but in this industry that usually isn't the case. They genuinely are interested in talking with you, finding out about what you've been doing with your time, where you see yourself in the long run and, as was the case with me, who your favourite designers are! Obviously the questions are somewhat designed to ascertain whether you'd be a compatible member of the team, it being fairly small at Instyle this is something important to them, and whether your style and aesthetic fit with the particular brand of the magazine. So while questions aren't designed to trick you it is worth while considering your answers, difficult in an interview situation, I know, but if you can anticipate key questions it'll make the whole experience a little less nerve racking!
P.S. I know that I was going to write some posts about my time at the Net A Porter group, and I still am so I'll be covering my time there in the next post before talking about my role and responsibilities at Instyle and hopefully I'll be back on track soon enough.
Thursday, 14 March 2013
Vogue Internship Part II
As promised I am disciplining myself and making an effort to write regularly- now I've got a little time off it's been much easier to find the motivation to keep entertaining all of you! Just as a little side note before we get down to what everyone reeeally wants to hear about, I had my first EVER comment last night! Very exciting, and whoever you are- thank you! I don't know how many people even see what I write, or whether it actually makes any difference but it is much appreciated that someone took the time to write a comment saying they enjoy my posts.
Little gush over, let's get back to business: Vogue.
My first day at Vogue was the most nerve racking thing I've experienced! To set something up on a pedestal is a dangerous game and having collected issues of Vogue since I was 14 years old, meant that I was quaking in my boots at the thought of meeting so many influential people. I want this post to be both helpful and hopeful. It's hard to keep your head in the game when you feel as if you're fighting a losing battle, but honestly- Vogue is the smoothest and most organised magazine I have been to, and they are reading each and every application that arrives on their desk. The women who work there have a lot on their plates but they will always do their best to help someone who has a genuine interest and passion in learning from some of the best in the industry. So many of the most successful women in fashion who are doing incredible things once worked at British Vogue, such as Grace Coddington and Kate Phelan. That alone should give you hope that great things are possible for you too- we all just need a little help to get to where we're meant to be and the people I met seemed more than willing to help.
They do expect a lot from you but in return they give you a lot back- there was never a shortage of please, thank you or "honestly, go home!" to be heard while I was there. And by that I mean, they were encouraging me to go home on time- not getting rid of me! While these may seem like small things they make all the difference; if you feel appreciated and respected by the people you're working for then you'll not only have a more enjoyable time there but probably work harder, something I'm sure the Vogue team have worked out. An important part of spending the time undertaking these placements in the first place is making sure that you are learning something from the people you're surrounded by, something almost impossible to avoid when at British Vogue.
As I have mentioned previously I didn't start out wanting to work in fashion, for a while I was convinced I was meant to be a lawyer, and have always slightly worried that my chances at forging a career in this industry might be lower than someone who studied fashion. So I was pleasantly surprised when I discovered that Francesca Burns, Vogue fashion editor, also started off on a completely different path to the one she finds herself on now. The bottom line? It's never too late to take a deep breath and go for it: my parents weren't ecstatic when, after my first year at University, I changed my course to English Literature but it was the best decision I ever made. Even though I didn't decide to go to fashion school instead it laid the foundations for where I am now- I can show that I have more strings to my bow than some other applicants, that I can write well and, perhaps most importantly, I managed to juggle interning with writing a dissertation on French realism and come out the other side with my sanity just about intact. You can find an article on Francesca Burns's journey to the top here, hopefully it will provide you with the inspiration to take the plunge and do whatever it is you're passionate about- whether that is editorial fashion, e-commerce, buying, merchandising.. The world is your oyster!
I hope I've shed a little light on what work placements with Vogue fashion are like, and that I've shown you can get to where you want to be if you can demonstrate how strong your desire to work in fashion is. Your cover letter will be just as important, if not more so, than your CV and I definitely feel that mine is what got me my place. You're not applying for corporate positions in the same industries as some of your friends so you shouldn't expect a standard issue cover letter to do the same job- you need to demonstrate that you genuinely love what the magazine stands for, that you understand its brand and its readership and that you have picked up enough experience at previous magazines to really be an effective intern at Vogue. If you can show all of these things I have no doubt that it will be the start of something amazing, just as it was for me.
Next time: My placement at The Outnet
Little gush over, let's get back to business: Vogue.
My first day at Vogue was the most nerve racking thing I've experienced! To set something up on a pedestal is a dangerous game and having collected issues of Vogue since I was 14 years old, meant that I was quaking in my boots at the thought of meeting so many influential people. I want this post to be both helpful and hopeful. It's hard to keep your head in the game when you feel as if you're fighting a losing battle, but honestly- Vogue is the smoothest and most organised magazine I have been to, and they are reading each and every application that arrives on their desk. The women who work there have a lot on their plates but they will always do their best to help someone who has a genuine interest and passion in learning from some of the best in the industry. So many of the most successful women in fashion who are doing incredible things once worked at British Vogue, such as Grace Coddington and Kate Phelan. That alone should give you hope that great things are possible for you too- we all just need a little help to get to where we're meant to be and the people I met seemed more than willing to help.
They do expect a lot from you but in return they give you a lot back- there was never a shortage of please, thank you or "honestly, go home!" to be heard while I was there. And by that I mean, they were encouraging me to go home on time- not getting rid of me! While these may seem like small things they make all the difference; if you feel appreciated and respected by the people you're working for then you'll not only have a more enjoyable time there but probably work harder, something I'm sure the Vogue team have worked out. An important part of spending the time undertaking these placements in the first place is making sure that you are learning something from the people you're surrounded by, something almost impossible to avoid when at British Vogue.
As I have mentioned previously I didn't start out wanting to work in fashion, for a while I was convinced I was meant to be a lawyer, and have always slightly worried that my chances at forging a career in this industry might be lower than someone who studied fashion. So I was pleasantly surprised when I discovered that Francesca Burns, Vogue fashion editor, also started off on a completely different path to the one she finds herself on now. The bottom line? It's never too late to take a deep breath and go for it: my parents weren't ecstatic when, after my first year at University, I changed my course to English Literature but it was the best decision I ever made. Even though I didn't decide to go to fashion school instead it laid the foundations for where I am now- I can show that I have more strings to my bow than some other applicants, that I can write well and, perhaps most importantly, I managed to juggle interning with writing a dissertation on French realism and come out the other side with my sanity just about intact. You can find an article on Francesca Burns's journey to the top here, hopefully it will provide you with the inspiration to take the plunge and do whatever it is you're passionate about- whether that is editorial fashion, e-commerce, buying, merchandising.. The world is your oyster!
I hope I've shed a little light on what work placements with Vogue fashion are like, and that I've shown you can get to where you want to be if you can demonstrate how strong your desire to work in fashion is. Your cover letter will be just as important, if not more so, than your CV and I definitely feel that mine is what got me my place. You're not applying for corporate positions in the same industries as some of your friends so you shouldn't expect a standard issue cover letter to do the same job- you need to demonstrate that you genuinely love what the magazine stands for, that you understand its brand and its readership and that you have picked up enough experience at previous magazines to really be an effective intern at Vogue. If you can show all of these things I have no doubt that it will be the start of something amazing, just as it was for me.
Next time: My placement at The Outnet
Wednesday, 13 March 2013
Vogue Fashion
So after an unprecedented length of silence, even by my standards, I am making an effort to reignite this blog- if only for my own satisfaction.
I'm going to do a little overview of the last couple of months just to set things up and then will go into more detail about everything. I spent a couple of months at GQ working in fashion features, which was amazing and a welcome change from women's magazines, before heading to Vogue in November and finally landing a paid 3 month position as a fashion intern with The Outnet, the sister company of Net-A-Porter, in December. Having covered that, let's start at the beginning:
If I cast my mind back to October, which seems like a light year ago now, when I was at GQ and didn't have any placements lined up in front of me and I felt fairly desperate, I still find it hard to believe that everything that followed actually happened. A big part of wanting to work in the fashion industry is learning to accept that you can't have everything planned out. It just won't work. As someone who is virtually allergic to living moment to moment I am still finding it hard to "go with the flow", but I am slowly realising that a little bit of uncertainty can open up opportunities that wouldn't have happened otherwise. I had my interview for Vogue a week before my time at GQ ended, likewise I secured my place at The Outnet a few weeks before I was due to leave Vogue. Things have a way of working themselves out, but it's still hard to let go.
Going to Vogue felt like the pinnacle of my interning "career", especially because the interview was suddenly decided on a day that I'd woken up late and put on a pair of horrifically laddered tights and a dress that I hadn't worn in ages- only to realise why when I caught sight of myself in the mirrors in the lift and could practically see my underwear. Not gonna lie, it was hugely intimidating- the big white double doors leading into the Vogue offices are flanked by stunning editorial images of Freja Beha Erichsen and Daria Werbowy and then suddenly.. You're in. You've reached the holy grail. That being said, I was interviewed by the very friendly Maya Zepinic, senior fashion assistant and right hand woman to the legendary Lucinda Chambers, and left unscathed thinking "what a lovely chat!" So first impressions aren't everything- and my experience of Vogue was genuinely very pleasant and rewarding. It was certainly A LOT of returns, call ins, packing for exotic shoots abroad that I forlornly knew I'd never be going on and watching the Vogue fashion girls get beautifully dressed up for parties I wasn't invited to but really it most definitely set me up for my next opportunity.
It doesn't matter what job you're given, of course it helps if it's wildly exciting and important, as long as you do your best and put 100% into whatever you're doing. That sounds cliché but it's just common sense really, isn't it? If you work hard, do a good job and are appreciative for what you're given then you're more likely to be remembered if they need someone again or are looking for an assistant on a shoot. Whether you are able to take them up on these offers is a matter of availability, which I have found out painfully a number of times since October. While at Vogue GQ got in touch with me as they needed a fashion assistant for a cover shoot with Idris Elba, star of The Wire and all round hottie, but it clashed with my last day at Vogue and I eventually decided that current commitments must supersede new offers. Whether this was the right thing to do is questionable, and I do sometimes regret not going as I would have a credit to my name and you never know what may happen or who you might meet on a shoot. However, I completed my time at Vogue fully and after I left was offered two opportunities to assist on shoots with Maya, both in a freelance capacity as she was shooting for Tank magazine and for Vogue. Sadly, once again, I was forced to turn these down as my job at The Outnet took up all my time during the week and I had shoots going on, often every week, that I was required to be on. I felt it would be unprofessional to make up an excuse to absent myself from a job I was being paid to do, no matter how badly I wanted to assist Maya- though I would have loved to be able to say yes, believe me!
Only time will tell if I'll be presented with another chance to assist; I do hope she keeps me in mind, as I begged her to do in my apologetic email, and eventually Ill be able to reap the rewards of my time at Vogue. Even if I don't, while I'll be disappointed I can't say that it wasn't amazingly beneficial and perhaps the first place I've been to where the name alone can open doors. I went through four applications, numerous emails and one interview over a period of a year and a half to finally get there- and the people who work in fashion know that.
More on Vogue and my time at The Outnet next time. In the not too distant future!
I'm going to do a little overview of the last couple of months just to set things up and then will go into more detail about everything. I spent a couple of months at GQ working in fashion features, which was amazing and a welcome change from women's magazines, before heading to Vogue in November and finally landing a paid 3 month position as a fashion intern with The Outnet, the sister company of Net-A-Porter, in December. Having covered that, let's start at the beginning:
If I cast my mind back to October, which seems like a light year ago now, when I was at GQ and didn't have any placements lined up in front of me and I felt fairly desperate, I still find it hard to believe that everything that followed actually happened. A big part of wanting to work in the fashion industry is learning to accept that you can't have everything planned out. It just won't work. As someone who is virtually allergic to living moment to moment I am still finding it hard to "go with the flow", but I am slowly realising that a little bit of uncertainty can open up opportunities that wouldn't have happened otherwise. I had my interview for Vogue a week before my time at GQ ended, likewise I secured my place at The Outnet a few weeks before I was due to leave Vogue. Things have a way of working themselves out, but it's still hard to let go.
Going to Vogue felt like the pinnacle of my interning "career", especially because the interview was suddenly decided on a day that I'd woken up late and put on a pair of horrifically laddered tights and a dress that I hadn't worn in ages- only to realise why when I caught sight of myself in the mirrors in the lift and could practically see my underwear. Not gonna lie, it was hugely intimidating- the big white double doors leading into the Vogue offices are flanked by stunning editorial images of Freja Beha Erichsen and Daria Werbowy and then suddenly.. You're in. You've reached the holy grail. That being said, I was interviewed by the very friendly Maya Zepinic, senior fashion assistant and right hand woman to the legendary Lucinda Chambers, and left unscathed thinking "what a lovely chat!" So first impressions aren't everything- and my experience of Vogue was genuinely very pleasant and rewarding. It was certainly A LOT of returns, call ins, packing for exotic shoots abroad that I forlornly knew I'd never be going on and watching the Vogue fashion girls get beautifully dressed up for parties I wasn't invited to but really it most definitely set me up for my next opportunity.
It doesn't matter what job you're given, of course it helps if it's wildly exciting and important, as long as you do your best and put 100% into whatever you're doing. That sounds cliché but it's just common sense really, isn't it? If you work hard, do a good job and are appreciative for what you're given then you're more likely to be remembered if they need someone again or are looking for an assistant on a shoot. Whether you are able to take them up on these offers is a matter of availability, which I have found out painfully a number of times since October. While at Vogue GQ got in touch with me as they needed a fashion assistant for a cover shoot with Idris Elba, star of The Wire and all round hottie, but it clashed with my last day at Vogue and I eventually decided that current commitments must supersede new offers. Whether this was the right thing to do is questionable, and I do sometimes regret not going as I would have a credit to my name and you never know what may happen or who you might meet on a shoot. However, I completed my time at Vogue fully and after I left was offered two opportunities to assist on shoots with Maya, both in a freelance capacity as she was shooting for Tank magazine and for Vogue. Sadly, once again, I was forced to turn these down as my job at The Outnet took up all my time during the week and I had shoots going on, often every week, that I was required to be on. I felt it would be unprofessional to make up an excuse to absent myself from a job I was being paid to do, no matter how badly I wanted to assist Maya- though I would have loved to be able to say yes, believe me!
Only time will tell if I'll be presented with another chance to assist; I do hope she keeps me in mind, as I begged her to do in my apologetic email, and eventually Ill be able to reap the rewards of my time at Vogue. Even if I don't, while I'll be disappointed I can't say that it wasn't amazingly beneficial and perhaps the first place I've been to where the name alone can open doors. I went through four applications, numerous emails and one interview over a period of a year and a half to finally get there- and the people who work in fashion know that.
More on Vogue and my time at The Outnet next time. In the not too distant future!
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