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Back to Home > Content > Interviews > So What Do You Do, Sally Singer, Fashion News/Features Director, Vogue? Mail Print So What Do You Do, Sally Singer, Fashion News/Features Director,christian louboutin shoes, Vogue? The Yale-educated, beauty school dropout on working with Anna Wintour, Michelle Obama's icon status and her 'fluke' career as a fashionistaBy Diane Clehane ? February 18, 2009
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So What Do You Do, Candy Pratts Price, Executive Fashion Director,tods moccasins shoes, Style.com? More often than not, those who rise to the top in fashion began plotting their careers around the time they first learned to dress themselves. Sally Singer is an exception to that rule: While her consuming passion for fashion fueled a lifelong love of sewing, along with her voracious consumption of magazines since childhood, her path to the rarified environs of Vogue was anything but premeditated. "I didn't think of it as a professional choice, in part because I didn't know anyone who worked in fashion; I didn't know how people got their jobs in magazines," says the editor, who is a regular front-row fixture at fashion shows in New York and Paris.
Somehow, Singer's stints editing books in London and waxing lips at a San Francisco beauty school all led her to landing one of the most coveted jobs in fashion: working for Anna Wintour. ("A great boss.") As a result, her expansive and intellectual view of the world extends well beyond an interest in fashion's next big thing and the celebrity du jour -- and that, she says, is precisely the point. Her advice to fledgling fashionistas is astonishingly practical: "Know something else and bring that with your interest in fashion to a magazine. It's not enough to just love fashion," she counsels. "You have to have a much broader interest in culture, even if all you'll be doing is pinning clothes on a model."
Name: Sally Singer
Position: Vogue fashion news/features director
Resume: Joined Vogue in 1999 from New York, where she served as fashion director. Prior to that, worked at Elle, British Vogue and the London Review of Books, respectively.
Birthdate: March 21, 1965
Hometown: "My family moved a bit, but I basically grew up in Oakland,tods mens shoes, California."
Education: UC Berkeley (undergrad); Yale University,tods women, American Studies
Marital status: Married to novelist Joseph O'Neill; three children
First section of the Sunday Times: "Of the stuff you get on Saturday, the book review. For five years,tory burch shoes, I worked at Farrar Straus & Giroux as a book editor, and so I always go to the book review first. I read it the way people who work with books do. I look at which companies have gotten reviews -- not just what has been reviewed. On Sunday, I read the news section first."
Favorite TV show: "Charlie Rose. It's probably the only one I watch. It's the only thing that I actually know when it's on. I don't have TIVO or OnDemand. I don't even have cable. The thing I love about Charlie Rose is that it's one of the few places where there's an extended discussion about something,Giuseppe Zanotti Shoes, and I like that."
Guilty pleasure: Movie theater popcorn
Last book read: "I just read Antonya Nelson's new collection of stories. I think she's very, very good. She's kind of a new spin on Ann Beattie. That's my equivalent of television --- some people watch Brothers & Sisters, and I read Antonia Nelson. I read a lot of fiction. I probably read two to three novels a week."
Did you always want to work in fashion?
I always loved clothes and making clothes. I sewed all of my clothes with thrift store things mixed in throughout high school and even college. I was fanatical about home sewing. I didn't come from a family with the means to actually purchase anything that would constitute fashion, nor do I come from a family where anyone was involved in the culture of designer ready-to-wear.
Because I made my own clothes,christian louboutin sale, I always cared about fashion and always knew what every designer had done, as reported in the pages of Vogue, Interview and Paper. I always followed what was happening and did my interpretation of where I thought things were going. I didn't think of it as a professional choice, in part because I didn't know anyone who worked in fashion; I didn't know how people got their jobs in magazines. But I knew the masthead of every fashion magazine. By the time I was 11, I could tell you who the bookings editors were. I did send a handwritten letter to Andy Warhol when I was 12 because I wanted to work at Interview.
[Fashion] was a way of making myself interesting in the world. It wasn't something one would do professionally. I come from a family -- my father is a mathematician, my mother is a psychologist, my brother and sister are doctors -- which one doesn't do commercial things. So the idea of being a historian specializing in reconstruction to civil rights and black history was what I was raised to do. My idea was [that] I would work at a research institution, teach a small class load, and get a chair some day.
What happened?
I was in graduate school when I realized I was too much of a dilettante. I was into New York too much -- I was at Yale, but I was always in New York. I just needed a break. I needed to figure out who I was, so I went into book publishing. It was fantastic. It allowed me to think quickly and instrumentally about text, but to have a kind of long relationship with writers; to have a complex relationship with subject matter -- particularly with nonfiction. From there, I went into book reviewing and editing -- I was at the London Review of Books. It was only when Alexandra Shulman asked me if I would go to British Vogue that I thought, "Wow, I could go to a Vogue." It was a fluke. She saw in me things I hadn't seen in myself but were there. I left Berkeley at one point to take a semester off, because I started very young and skipped a lot of grades. I went to beauty school. I did the California curl, the Marcel wave and learned to wax ladies' lips. I didn't finish. I realized that I wasn't great at haircutting. It allowed me to have a lot of practical knowledge of beauty culture. It's been this extraordinarily useful thing.
So this amalgam of experience has been helpful.
Definitely. Knowing how to sew has helped me enormously in understanding clothes when they come down the runway -- how they work, why they work and when they don't work. If you know how to sew, you know about fabrics and textiles and how they should be cut. I've known how things should be properly made since I was a junior high school student. Having gone to beauty school, I actually do have a basic knowledge of what people do... if they've really got it or they don't -- because some people have it, and I don't. I should never wax a person's lip or eyebrow again. I was terrible, and it's a terrible thing to be terrible at.
"Anyone who is interested in clothes right now knows the clothes almost as soon as I do. That changes the way you report on clothes and changes the way you show clothes. It makes what we do more relevant than ever,herve leger, because you actually need someone to edit it down for you."
It's an interesting detour given all that came before and after.
I think everything you do in your life can come together. I was at London Review of Books, and I had done a piece for British Vogue about Jay McInerney because I was an American living in England. They offered me a job as a culture editor when Eve McSweeney (who I now work with at American Vogue) came to New York to work at Harper's Bazaar with Liz Tilberis [in the early '90s]. I followed her to British Vogue. I loved it [at British Vogue]. Suddenly, the disk drive of information in my head about clothes,tods sale, style and photographers -- and every credit I ever read and remembered from every fashion magazine from the time I was 10 -- was all useful. I was getting paid to go into the recesses of my imagination. British Vogue was a fantastic experience.
What's the difference between the culture at British Vogue versus American Vogue?
It's more similar than I would have imagined it to be. When I worked at British Vogue, it was at a time in which British fashion was having a very big moment. John Galliano was going to Paris. [Alexander] McQueen was starting at Givenchy. There was a lot of excitement. A lot of the fashion at the time that was successful commercially was very lifestyle-driven (which is what the English can often do well) -- clothes that don't come from the street, they come from the garden and how people live. It was all about wearing your pajamas or a slip dress with combat boots to work. It was very feminine, girlie and fun. There was a lot of interaction between the features and fashion staffs to put forward that vision. That was the birth of [designer label] Marni. We were wearing the rose prints with the striped T-shirts. Meanwhile, you had Oasis and Blur hitting it big, and the Brit pop thing. It was just a good moment to be there. It was a small staff and small budgets to do things -- bigger budgets than anyone else in England, but small budgets in comparison to what America does.
When I came to American Vogue, I had this perception that it had far more staff, far more resources, and far more divisions between the different part...