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A graphic design graduate at Central Saint Martins, studying “everything from filmmaking, illustration, photography”, Ben Cobb began his writing career in film journalism and occasionally wrote for fashion titles. Some of his earliest interviews were with designers such as John Galliano, Jean Paul Gaultier and Diane von Fürstenberg.
“I’m interested in people,” the fashion editor said on a LinkedIn Live stream last week. “Whether it was a director, a designer or a novelist, I never shared much.”
Cobb joined Dazed Media Another person, where he worked for a decade, leaving the publication in 2019 after 4 years as editor-in-chief. He then joined the influential style publication LOVE as co-editor in early 2020 before helping to launch Perfect magazinea creative community and content platform alongside its predecessor LOVE colleague Katie Grand. In 2021, he joined Evening Standard as editor of the lifestyle and culture supplement publication, ES magazine.
Now, BoF Careers shares actionable insights and advice from last week’s event, Building a Career in Fashion with Ben Cobb.
How did you start working in the fashion industry?
It was never my plan. I tried everything to avoid it for a long time. I grew up with a lot of friends and some family who worked in fashion, but starting out, my two main passions were writing and film. I started writing about movies, which seems like a natural way to bring these two passions together.
I am interested in people. So whether it was a director, a designer or a novelist, I never share too much. So I was writing about the movie for some style magazines and it became, “Are you going to interview designers?” and suddenly brought many different elements together.
How did it impress you when you started as a writer?
[I did] very early interviews with designers [like] John Galliano and Jean Paul Gaultier, I had a fantastic day with Diane von Fürstenberg around London. […] i never [felt] especially star-struck or feared by great characters. I think, if anything, maybe it helped me to be a little naive because I probably asked things that maybe you shouldn’t.
Learn how to say no. A massive part of the work is what you don’t include, filtering into what you want to say.
With those early experiences, research is essential. [I would] do a lot of heavy research […] and create a good idea in my head, build a character study, a portrait of what I think that person is. Then invariably – and the thing I love about interviewing people is – it goes out the window very early. […] You need that kind of rich research behind you to be able to let it go.
What essential skills do writers and editors need to work in fashion?
It’s as old as the hills, but writers have to meet deadlines. […] I went straight from producing a magazine twice a year to one a week, and you have to [take a] stick around deadlines.
Learn how to say no. A massive piece of work [is] what you don’t include, filtering into what you want to say, and that means it’s a lot of rejection, and you need to know how to communicate saying no and rejecting things in a professional and conscientious way.
What advice would you give to young writers submitting stories for publication?
Often, we are all watching the same stories, being pulled by the same web in many ways. I think people can relate to the idea of original stories, and that’s very important, but sometimes it’s about telling a familiar story that either all of us are interested in, at that particular moment. [and] saying it in a special way – your way.
Each magazine has a very different mast. Don’t blow it to everyone you know. Do your research, be really specific about what titles [and] what magazines do you like to read Target them [and think] where you want to see your work and stories published. Focus on them and look at the different editions – the titles mean slightly different things.
Spend some time determining who the right person is [and] just lie down. There are also key roles – whether managing editors or assistant editors – reach out and don’t be afraid to ask who is the best person to send this to, or have them point you in the right direction. It’s not just a shot – you want the initial reach to really connect and count.
What does everyday look like to you?
It really keeps me going – every day is different. [Today,] I am writing something […] then run around the city, check out some places for some events, sign some video content for social movie clips – every day is full of surprises.
The fun part of it – and the challenge – is putting on all these different hats. I think that’s what I like most about it, putting me in more diverse arenas than any other position I’ve had before.
What do you look for in young talent today?
Creativity and the ability to be a little free with things. Things move so fast. Before, I was like a dog with a bone, following something tenaciously to the bitter end, when sometimes, it’s knowing when to let things go. You can go back to her. Sometimes that ultra-focused vision can be detrimental in a way—it’s a powerful energy, but for me, being a little fluid with things is very healthy in this media landscape.
Where do you see the future of fashion media going?
Its core will always be about storytelling and quality. The way things are going, it’s impossible to know what those new platforms will be [and] what will be those new ways to connect with your audience.
Sometimes that ultra-focused vision can be harmful in a way—it’s a powerful energy, but for me, being a little fluid is very healthy in this media landscape.
[But] I think nothing has changed. It’s still about telling great stories, shooting amazing images – that’s always what the job is about. How this connects and how you find your audience is really exciting. How many options there are now – who knows what will be available in two years. I find it exciting because it changes the way you think about what you’re doing. I think it’s a technical thing, and it’s just one way to find your audience. Basically, her heart stays.
What do you think are the essential skills to work in fashion?
Stability. [Fashion is] difficult, but you know the talent. Just go ahead and realize your worth. Stay true to yourself. Stand by these two things – your values and what you stand for. Just keep going until you enter. It’s an amazing industry for recognizing new, exciting talent and bringing it on. It is valid. […] There are holes and you find the gaps that you can fill. There is room for everyone. You just need to identify what area you are going to find.
discover editorial and media roles in BoF Careers today:
Deputy Editor, Burberry – London, United Kingdom
Copywriter, Ghent — Stockholm, Sweden
Copywriter Manager Tory Burch – New York, United States
Content Editor, Chico’s – Florida, United States
China Editor, Business of Fashion – China
Disclaimer: This interview has been edited and condensed for clarity.
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