Caroline Vazzana

Caroline Vazzana

How did you take your Teen Vogue freelance position to a job?

Networking. The job was supposed to only last 3 months and they really liked me, but since nothing was open I started looking elsewhere.  Then maybe a week or two later, they had hired a new fashion director and they were looking for someone to assist her. I didn't have any time to prepare for the interview though, because they were like, "Oh, meet with Marina today." I didn't even get to pick out a nice outfit.

 

So what was your role there?

At Teen Vogue I was the assistant to the fashion director and senior editor. When I was there it was Marina Larroude and Jesscia Minkoff. I would help them with their pages in the magazine by calling in products and creating story boards. I also assisted with their expense reports, scheduling, and anything else they might need. I was pretty much their right hand girl. I also got to assist Jessica on set whenever she was styling a shoot for the magazine which was always very exciting. A big part of my job was being organized and being able to think ahead. Knowing what my bosses might need before they even ask. Also, having a positive attitude and doing every task you are assigned, no matter how small, to the best of your abilities.  Marina and Jessica are incredible people to work for and such good mentors, bosses, and friends- I was so lucky to have gotten this opportunity.

 

And company culture?

Fun, really like a family and that all comes from the top, down, from Amy.

 

 
 EDITH YOUNG

EDITH YOUNG

Then Teen Vogue, congratulations. Do you want to talk a little bit about how that happened?

I sent them a cold pitch. I knew that RISD has the fashion show every year and the work is always stellar.

 

I saw your photos; they were really good.

I thought this was a good process for the apparel seniors to see too, to get a sense of how editorial coverage stands in relation to their work.

 

Why is that important for them to see that?

A few things were lost in translation with the story and I think it's useful for young designers to see how many hands these things go through. It's important to have a sense of how content filters through an editorial masthead, so that they know how they can best protect their work and make sure that it’s always credited correctly.

A great part of that was, I watched Tom, who shoots for Into The Gloss, all summer. Everything good that came out of that Teen Vogue story was stuff that I had absorbed from Tom. It was fun to feel like I couldn't have done it without that training from last summer, particularly when it came to photographing models with an editorial endpoint in mind after I was so used to photographing my friends in more spontaneous situations.