I did some LinkedIn stalking, and you’ve been at Dazed for nearly seven years. In fashion, where staff turnaround is so high, that’s a long tenure. Could you take us through your time there?
Before I got the job at Dazed, I’d already been freelancing with Emma Hope Allwood [Dazed’s former Head of Fashion] for about a year. That’s how I applied. Initially, I found it a very intense job. I’d been working in e-commerce places before – handling the content – but this was a step up in terms of pace and day-to-day, often spilling into evenings and weekends. Still, I’m more of a ‘get your head down and work’ type of person, and I think they valued that at Dazed. Since then, my role has constantly evolved: going from writer to taking on more responsibility as an editor and eventually becoming director, overseeing everything the fashion department puts out. That’s kept me very stimulated over those seven years.
“Moving to London for an internship wasn’t an option for me. I don’t come from money, and like, how would I even do that without the qualifications? So, I did gig jobs.” – Emma Davidson
Your e-commerce background is interesting. I feel like, in fashion (journalism), it’s implied that you need a degree from a prestigious fashion institution, followed by several unpaid magazine internships – which can be inaccessible. What’s your career path been like?
My route was quite untraditional and meandering. Instead of going to A-levels, I went to a fashion BTEC, which was about making clothes. I hated making clothes! I’d just sit there with whichever item I was making, jammed in the sewing machine, while flicking through a magazine. As you can probably guess, I failed. I worked in bars and restaurants for about a year, knowing I wanted to work at a magazine but not knowing how to get there. So, I got into Nottingham Trent University, again for fashion design. On my first day there, my granny died, ultimately causing me to defer a year before dropping out completely. I felt so guilty.
Moving to London for an internship wasn’t an option for me. I don’t come from money, and like, how would I even do that without the qualifications? So, I did gig jobs. It wasn’t very creative, but it paid. Once I saved up some money and had a small inheritance from my granny, which could see me through a couple of months, I interned with the swimwear designer Melissa Odabash. Here, I did everything from answering phones to arranging press appointments. I suggested running her social media and blog while picking up as many bar shifts as possible in the evenings and weekends. After four months, they gave me a paid position. From there, I went to The Shop at Bluebird, helping build their online content and social media strategy. Then, I managed the content at oki-ni, where I did my first big interviews, ran their bi-annually print magazine and worked with DJs and producers on their mix series. That was a lot of fun! Working there, with menswear, helped me refine my writing. After they went bust, I worked at a PR agency, doing bits and bobs, before sending my first Dazed pitch to Emma Allwood. It was about Takeshi Kitano. I loved his films and the costumes, for which he often worked with Yohji Yamamoto. The rest is history.
Did you ever experience it as a hindrance, not having this “traditional” fashion journalism background?
Even though my journey was arduous and bumpy, it’s been helpful. Even though it wasn’t for me, my design education still helps me today. When looking at a collection, I know how something is constructed, or identify a certain pin-tuck or lapel. Also, if I’d come to Dazed at 22 or 23, as lots of people do, I would’ve been so insecure. And the reality is, I just really wouldn’t have been able to do it another way.
What are your responsibilities today as the fashion director?
I oversee everything that goes on at Dazed’s fashion section. I come up with monthly and bi-yearly strategies, which I feed into the social team. I also oversee a writer and a community of freelancers, and a lot of my job is about upholding relationships with partners and brands. Then I still write a lot as well, it’s not a very lofty position.
Do you still have space to write the stories you’re passionate about, like your first Dazed pitch about Takeshi Kitano?
There are obligations in terms of coverage. But it’s important to make time for the things I’m passionate about. Like, I love writing about costume direction in films. Over the summer, I made time (kind of veering into my own time) to interview the costume director for the new Alien film. I didn’t think it would get a lot of traffic hits, but it excited me. But there’s a thrill in seeing a story perform, too, because of a strategic headline or something.
“Of course, every job has targets and KPIs – and we talk a lot about traffic – but that balance is important for everyone at Dazed Digital. We still need to put out meaningful things. Honestly, it’s quite a hard balance.” – Emma Davidson
On the note of traffic hits, Dazed attracts a huge readership. What strategies do you use to keep up this (digital) readership?
We have a team that works on SEO and A/B testing, trying out different headlines, for example. Instead of Google Analytics, we use Chartbeat, which I always have open in a tab. Strategy-wise, I’ve been here for seven years, so I kind of know what our audience wants to read and what will perform well, which feeds into my weekly and monthly strategies. Then, there are other things you can do to hit your targets. Say there’s an important piece I want to cover for the website, which I know won’t get that much traffic, I’ll balance that with two light stories that will get traffic, instead of one. Of course, every job has targets and KPIs – and we talk a lot about traffic – but that balance is important for everyone at Dazed Digital. We still need to put out meaningful things. Honestly, it’s quite a hard balance.
I get it. SEO and traffic aside, you want to write for human readers, not just for an algorithm.
Yeah, exactly. Writing for the algorithm is not it, is it? And the way we’re talking about it has shifted so much since the seven years I’ve worked here.
How has the consumption of fashion media changed in those seven years?
A lot more is done through social media. I came to Dazed as a writer, but wasn’t ‘just’ a writer for very long. Now, it feels like I’m back to being a content creator. Fashion season is a good example. Before, I’d watch the show, take notes and then write my review. Now, we need videos of the show’s ambience, set and videos where you speak to a celebrity, which we often make with Dazed’s social team. I used to start writing my reviews [between shows], but now I use that time to feed into IG captions and upload videos. So my day is social media, and then when I get home at night, the writing starts.
Obviously, the required skill set of fashion journalists today has changed. How do you think aspiring journalists can adapt to that?
If you want a director or editor position, you need to think of yourself not just as a writer, but as a content creator – even if it’s just promoting yourself on social media.
Is a ‘successful’ social media profile something you consider in the pitches you commission for Dazed?
If a writer pitches to me and they don’t have a social media presence but they have some strong examples of work, the social media profile makes no difference to me. But I do think social media is an incredible tool for showcasing your work. Even if you’re not posting TikToks dissecting collections or GRWM videos, using TikTok or Instagram to showcase your references and interests is a great way to showcase what you’d like to write about. Like, very early in writing for Dazed, my first editor asked me to interview Craig Green about his costumes for Alien Covenant because she saw me posting about the film on Instagram. Use your socials as a scrapbook to build up your profile as you build up your bylines.
“At fashion shows, there’s a lot of pressure to look polished or cool or whatever, but sometimes I just want to pull my hoodie up and work.” – Emma Davidson
Do you feel pressure to keep up a public profile, social media included?
Totally. I mean, I shitpost all the time. But then, I’m also always wondering: ‘Should I post this? Of course, you need to have this profile, but I also couldn’t become someone I’m not. Honestly, I was quite shy when I arrived at Dazed. I found the environment overwhelming and just wanted to write. I didn’t love going to press events. And at fashion shows, there’s a lot of pressure to look polished or cool or whatever, but sometimes I just want to pull my hoodie up and work. I’ve fully changed my mind on the events, I love how many people I get to meet there, I never imagined that at the start.
What’s changed since?
I think it’s exposure therapy! And, as I’ve moved up in Dazed, I’ve become more confident with my position in the industry and myself. I also have a strong community of friends working alongside me and supporting me. It’s been a really important factor in my career.
Do you have any advice on maintaining a healthy relationship with the internet and social media, while also working in a role that constantly requires you to be online?
Honestly, you don’t. I’m getting better at the work-life balance. Like, this weekend, I’m strict with myself to just relax. But then, I will be on Instagram. I don’t have a great relationship with social media, and I feel my job has exacerbated that. But then, I love what I do. Of course, it’s a big part of my life.
Yeah, I can imagine your personal Instagram feed is largely fashion (mine certainly is).
Yes! I’m not sure about you, but I’ve been consumed by fashion from such a young age – obsessed, even! Sure, there are so many things I don’t like about the industry: the consumerism and working conditions. I’m not really a luxury consumer, either. I can’t afford it. But it was never about that for me. It was about escapism and fantasy, watching Ab Fab with my mum (which is obviously a ridiculous portrayal), forever drawing clothes and lending fashion books from the library. Fashion was a massive part of my life before it became my job. I guess that’s why I don’t feel so bad about consuming fashion content outside work hours.
What are you looking for when you’re commissioning a writer for Dazed?
A well-crafted pitch is important. But what really stands out to me, is a good understanding of the magazine or website you’re pitching to, and how your pitch fits into that. I got a few pitches saying something like “I love your Cult Vault section,” or “I really love this format” and then shaping the pitch into that format. And, if you do get commissioned, be consistent, dependable and communicative with your editor. Submit when you say you’ll submit and if there’s a delay on your deadline, let them know.
And what advice would you give aspiring writers?
Don’t be deterred if “success” doesn’t all come at once. There’s merit in building yourself up in other areas first. I know, having pitches rejected is soul-destroying. Before starting at Dazed, I sent Emma Hope Allwood loads of pitches, many she didn’t respond to or would answer with a simple: “No, this isn’t right.” I get about 20 pitches per week. The budget doesn’t allow us to commission loads, maybe one or two. There’s also more than directly going to a magazine. Get the money jobs, like commercial copywriting. The more you do that, the more you can write about the things you’re passionate about.
My other advice is to get a mentor. It’s intimidating to reach out to someone you respect, for sure. But if you contact someone and say you admire their work, they’ll probably be super flattered. Even if they say no, at least you put yourself on their radar. And if they say yes, great – not only will they help you navigate the industry and your early career moves, but it’s also a step towards building a community and support network, which is so important in fashion.
