{"id":166288,"date":"2025-02-20T12:30:54","date_gmt":"2025-02-20T17:30:54","guid":{"rendered":"https:\/\/models.com\/oftheminute\/?p=166288"},"modified":"2026-03-17T20:29:13","modified_gmt":"2026-03-18T00:29:13","slug":"olivia-singer-on-how-instinct-shapes-her-editorial-choices","status":"publish","type":"post","link":"https:\/\/models.com\/oftheminute\/?p=166288","title":{"rendered":"Olivia Singer on How Instinct Shapes Her Editorial Choices"},"content":{"rendered":"<style>\n.centerimg {padding:4em 7em;margin:20px 0;}\n.centerimg2 {padding:4em 4em;margin:20px 0;}\n.centerimg3 {padding:4em 3em;margin:20px 0;}\n.sidetxt {padding:16em 2em 16em 2em;;margin:20px 0;}\n.centerimg img {margin-bottom:0px;}\n.instagram-media {margin:auto !important;}\n#wp-content hr {margin: 40px auto 80px auto;width: 80%;}\n<\/style>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/02\/The-Gentlewoman_Dark-Art_HR-6.jpg\" alt=\"\" width=\"1280\" height=\"1568\" class=\"alignnone size-full wp-image-166295\" \/><br \/>\n<small>Olivia Singer by Angelo Pennetta | Image courtesy of <a href=\"\/\/models.com\/agency\/best-represents\">BEST REPRESENTS<\/a><\/small>\n<\/div>\n<p>Between balancing a career in fashion and  co-scripting major exhibitions like <em> <a href=\"https:\/\/lightroom.uk\/whats-on\/vogue-inventing-the-runway\/\" rel=\"noopener\" target=\"_blank\">Vogue: Inventing the Runway<\/a><\/em>, <a href=\"\/\/models.com\/people\/olivia-singer\">Olivia Singer<\/a> has also taken on a new challenge: learning how to drive. \u201cIt is basically my full-time job,\u201d she jokes. But beyond the driving lesions, the London-based editor and creative consultant, known for her signature jet-black monochromatic look and sunglasses, has spent her career navigating the intersections of fashion, feminism, and storytelling. Singer didn\u2019t always envision a career in fashion. At the University of Manchester, she studied English Literature with a focus on feminism and critical theory, a path that led her to Paris in pursuit of a \u201cutopian fantasy.&#8221; By day, she established initiatives focused on intersectional feminism, by night, she worked in a restaurant kitchen to make ends meet. But Paris wasn\u2019t the dream she had imagined. Ultimately, she returned to London with a renewed love for the city, and it was there, after sneaking into a <a href=\"https:\/\/www.instagram.com\/meadham_kirchhoff\/?hl=en\" rel=\"noopener\" target=\"_blank\">Meadham Kirchhoff<\/a> show, that her fascination with fashions&#8217; potential for subversion and self-expression sparked. That curiosity led her to  <a href=\"\/\/models.com\/client\/another-magazine\">AnOther Magazine<\/a>, <a href=\"\/\/models.com\/client\/british-vogue\">British Vogue<\/a>, and <a href=\"\/\/models.com\/client\/i-d-magazine\">i-D Magazine<\/a>, where she went on to interview designers and athletes like <a href=\"\/\/models.com\/people\/rei-kawakubo\">Rei Kawakubo<\/a>, <a href=\"\/\/models.com\/people\/miuccia-prada\">Miuccia Prada<\/a>, <a href=\"\/\/models.com\/people\/grace-wales-bonner\">Grace Wales Bonner<\/a>, and <a href=\"\/\/models.com\/people\/serena-williams\">Serena Williams<\/a>. Alongside her editorial work, Singer is a strong advocate for mentorship and has worked with organizations like<a href=\"https:\/\/www.instagram.com\/rubricinitiative\/\" rel=\"noopener\" target=\"_blank\"> Rubric<\/a> and <a href=\"https:\/\/www.instagram.com\/mentoring.matters\/\" rel=\"noopener\" target=\"_blank\">Mentoring Matters<\/a> to help break down fashion\u2019s barriers to entry. \u201cFashion can appear so closed off and difficult to navigate,\u201d she says. \u201cSo what we wanted to do was democratize information sharing by arranging panels with people who could speak about their experiences in certain areas and then making those discussions available as resources for others.\u201d Models.com spoke with Singer about her new role at British Vogue, the ever-changing landscape of fashion, and the importance of trusting your instincts. <\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/02\/Screenshot-2025-02-19-at-10.29.33\u202fPM.jpg\" alt=\"\" width=\"1280\" height=\"1658\" class=\"alignnone size-full wp-image-166306\" \/><br \/>\n<small>Serena Williams by Zo\u00eb Ghertner | Image courtesy of <a href=\"\/\/models.com\/agency\/best-represents\">BEST REPRESENTS<\/a><\/small>\n<\/div>\n<p><strong>You didn\u2019t start off wanting to go into fashion, you studied English Literature with a focus on feminism and critical theory. How did that shape your perspective as you transitioned into writing on beauty, fashion, and eventually joining <a href=\"\/\/models.com\/client\/another-magazine\">AnOther Magazine<\/a>?<\/strong><br \/>\nIt allowed me to think about fashion and beauty in a broader context, how they reflect and interact with the world at large, particularly in relation to female identity, women, and women\u2019s bodies. While I felt woefully under qualified, since I didn\u2019t grow up reading fashion magazines or obsessing over archival designers, I didn\u2019t have a list of models I loved or anything like that, which made me feel a little\u2026 not even insecure, but a bit \u201cother\u201d at the beginning of my career. That perspective, however, pushed me to view trends through a wider socio-political lens because that was the only framework I had. It also meant that when I started at AnOther, I was incredibly lucky to work with a team that was so open to teaching me and having conversations with me about the industry. I read everything I could get my hands on to try and catch up. I was in my mid-20s at the time, so I felt like I had gotten a late start, and I just absorbed everything I could. There was so much available online, I\u2019d find a random collection I loved and then look up Tim Blanks\u2019 review for Style.com, or what Jo-Ann Furniss or Suzy Menkes had written in The Herald Tribune. You could find it all if you searched for it. That\u2019s how I became really interested in different writers and perspectives, because that\u2019s how I learned about fashion. I read whatever I could find online since I didn\u2019t have any money to pay for subscriptions; it was all just Googling.<\/p>\n<p><strong>I also read that you had a stint in Paris before you started working at AnOther. How was that?<\/strong><br \/>\nYes, pre-fashion. I hated it at the time. I was living there during a politically very conservative period. I had just finished university and had this utopian fantasy of moving to Paris, learning to speak French, and being able to read H\u00e9l\u00e8ne Cixous and Simone de Beauvoir in French. I set up some feminist collectives while I was there. I worked with others to establish initiatives focused on intersectional feminism, feminism that incorporated sex workers, women of color, and a more third-wave perspective, which had always felt most aligned with my views. It was during the time when France first banned the hijab, around 2010. We also organized the first SlutWalk in Paris, so it was a pivotal moment in feminist activism. It was really tough because there\u2019s a very staunch feminist movement in France. Obviously, they have an incredible history of activism, but we would often come up against other movements that weren\u2019t necessarily supportive of things like SlutWalk or particularly inclusive of different women&#8217;s realities and perspectives. That was difficult for me. More than that, I was young, and I\u2019m from London, and to me, Paris didn\u2019t have the same intersection of identities that London did. That\u2019s not to say it\u2019s true now, but at the time, that was my experience. Also, I had no money, so I worked in a kitchen for a year. I came back feeling like\u2026 I couldn\u2019t speak enough French. I mean, I could speak enough to get a basic job, but I didn\u2019t learn to read H\u00e9l\u00e8ne Cixous in French, so in that sense, it was a slightly failed mission. But it gave me a renewed love for London and everything I appreciate about this city. I\u2019m very patriotic about London. Back then, I only knew it was Fashion Week in Paris because all the bars would be full, so you wouldn\u2019t go out. I was never like, \u201cOoh, fashion.\u201d I was more like, \u201cUgh.\u201d<\/p>\n<p><strong>You once snuck into a<a href=\"https:\/\/www.instagram.com\/meadham_kirchhoff\/?hl=en\" rel=\"noopener\" target=\"_blank\"> Meadham Kirchhoff<\/a> show, which sparked your curiosity about the intersection of fashion and feminism. Do you feel the industry today is embracing or distancing itself from political identities, and how does that resonate with you?<\/strong><br \/>\nWhen fashion is at its best, it either reflects, challenges, or in some way engages with the world at large. The way we present ourselves, the way we choose to present ourselves and the way we\u2019re perceived by the world\u2014is inherently political. Fashion is at its most powerful when it is in dialogue with those issues. We\u2019re in the most terrifying political climate I can conceive of, but I think there\u2019s an unfair amount of pressure placed on designers to be solely responsible for engaging with political realities. Ultimately, it\u2019s up to all of us to ensure that the work we do and the work we champion reflects a worldview we believe in. It feels unfair to place that entire burden on the creative director of a fashion house rather than acknowledging the responsibility of everyone else in the industry. I don\u2019t feel like fashion is less politically engaged than it was. The industry is just bigger, with more eyes on it than ever before. There\u2019s also more money at stake for certain people, which can complicate freedom of expression. But I think there\u2019s a wealth of creatives trying to do what they can within their realm to make the world a better place. At the same time, this is a question I\u2019ve been asking myself a lot lately:<em> What can I do? <\/em> I work in an industry that isn\u2019t exactly saving lives, so how can I create positive change within my sphere, within my network? Yes, there are certain institutional limitations, but rather than expecting every Autumn\/Winter \u201825 collection to explicitly address horrific administrations, I think the real focus should be on actively working to create change within our own communities. That feels like something that might actually help someone. It\u2019s so easy to feel powerless or like the problem is too big to affect real change, but finding ways to create impact within our immediate circles is more important than ever as a form of resistance. That means actively supporting DEI efforts across the board and advocating for every marginalized community.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/02\/1662388120044-ledenaomi.jpeg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"alignnone size-full wp-image-166333\" \/><br \/>\n<small> Naomi Campbell by Johnny Dufort | Image courtesy of <a href=\"\/\/models.com\/agency\/best-represents\">BEST REPRESENTS<\/a><\/small>\n<\/div>\n<p><strong>You&#8217;ve been involved in the <a href=\"https:\/\/www.instagram.com\/rubricinitiative\/?hl=en\" rel=\"noopener\" target=\"_blank\">Rubric Initiative,<\/a> can you share more about your role and its impact?<\/strong><br \/>\nIt evolved out of a series of conversations that <a href=\"https:\/\/models.com\/people\/nell-kalonji\" rel=\"noopener\" target=\"_blank\">Nell  (Kalonji)<\/a> and I had during the pandemic, after the murder of George Floyd. It was about seeing how I could support what Nell wanted to bring to life, working to establish a framework for information sharing, specifically as it related to supporting people of color in this industry. But it was also about addressing how opaque this industry can be. If you don\u2019t have a family friend, an inroad, or someone to ask questions to, it can feel completely inaccessible. That\u2019s always been such an issue, fashion can appear so closed off and difficult to navigate. So what we wanted to do was democratize information sharing by arranging panels with people who could speak about their experiences in certain areas and then making those discussions available as resources for others. For me, it was simply about supporting Nell in whatever way I could. I was used to bringing groups of people together through my job, so I helped in that way. Then I joined <a href=\"https:\/\/www.instagram.com\/mentoring.matters\/?hl=en\" rel=\"noopener\" target=\"_blank\">Mentoring Matters<\/a>, which focuses on supporting a new generation of people who have historically been excluded or disenfranchised from this industry, sharing information, support, and knowledge as openly as possible. It\u2019s been amazing to see how Laura  Edwards (the founder) has built that into something truly sustainable. This industry has marginalized certain voices and perspectives, and as a white woman, I felt a responsibility to see if I could, in some small way, help redress that imbalance. What\u2019s exciting is that so many people want to make this industry a better and fairer place. The challenge is working out the right framework\u2014how to connect the people who want to help with the people who need support. That\u2019s exactly what Laura and Nell are doing.<\/p>\n<p><strong>During your time at British Vogue, you interviewed a plethora of established and emerging designers, including <a href=\"\/\/models.com\/people\/miuccia-prada\">Miuccia Prada<\/a>, <a href=\"\/\/models.com\/people\/grace-wales-bonner\">Grace Wales Bonner<\/a>, <a href=\"\/\/models.com\/people\/Kim-Jones\">Kim Jones<\/a>, and <a href=\"\/\/models.com\/people\/maximilian-davis\">Maximilian Davis<\/a>. What lessons have you learned from working with such a diverse range of designers?<\/strong><br \/>\nOne of the reasons I love my job is that I\u2019m really interested in people, I\u2019m nosy, and I love people\u2014and this industry is all about people. Something that never fails to amaze me is that I have the opportunity to ask people I respect any question I want. Whether it\u2019s Rei Kawakubo, Mrs. Prada, or an emerging designer at the start of their career, it\u2019s remarkable to me that I can just ask, and people are somewhat obligated to respond. When I started my career, I used to reply to journalists on Twitter who needed their interviews transcribed. I listened to hundreds of hours of one journalist\u2019s recordings for a feature she was reporting for The New York Times. It wasn\u2019t about fashion, it was actually about the Whakatiki mermaids. Through transcribing for people, I learned how to interview others, and I\u2019ve always found that really interesting.When I\u2019ve had interns or assistants, I always tell them, <em>&#8220;If someone asks you to do transcriptions, take it as a gift.&#8221;<\/em> You get to hear how different people conduct interviews, how they engage in a narrative that is both a conversation and serves the purpose of a feature. Doing those transcriptions really helped me.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/02\/Muiccia-Prada-.jpg\" alt=\"\" width=\"1280\" height=\"1921\" class=\"alignnone size-full wp-image-166296\" \/><br \/>\n<small> Muiccia Prada | Image courtesy of <a href=\"\/\/models.com\/agency\/best-represents\">BEST REPRESENTS<\/a><\/small>\n<\/div>\n<p><strong>Do you have any insights or moments from those interviews stuck with you throughout your career?<\/strong><br \/>\nBeing able to interview <a href=\"\/\/models.com\/people\/rei-kawakubo\">Rei Kawakubo<\/a> was obviously my great dream because I\u2019m such a massive fan of everything she does. It was the first <a href=\"\/\/models.com\/client\/comme-des-garcons\">Comme des Gar\u00e7ons<\/a> feature ever published in <a href=\"\/\/models.com\/client\/british-vogue\">British Vogue<\/a>, so that was such an honor. I was so nervous. One of the things that has always interested me most about Rei is that she is the ultimate creative. Her work is unburdened by any constraints, norms, or protocols of the fashion industry\u2014particularly in recent years with her \u201cNo Making Clothing&#8221; collections. The way she talks about creativity isn\u2019t abstracted from the commercial realities of the industry; she very much sees the financial success of Comme des Gar\u00e7ons as what affords her the freedom to express herself in this way. That\u2019s one of the things I find so interesting about Comme, Dover Street, and the whole model there. The way she spoke about how her employees need to grow as people, that being what pushes her to continue creating, was fascinating. She needed to keep putting something out so that Comme as a business could keep going, so that she could keep paying people and giving them raises. I thought that was such an interesting and human way to look at progress in this industry. I think it\u2019s to the industry\u2019s detriment when fashion is seen as pure creative expression because at that point, it\u2019s art, not fashion anymore. Fashion is an industry, and it\u2019s about clothing. It\u2019s about pieces that\u2014usually\u2014women buy to present themselves to the world. When it becomes too abstracted from that, it sort of loses its essence, which is about bodies, identity, and self-presentation. I found it so interesting that this woman, who is held up by all of us as the most creative, is deeply aware of the practical realities that allow for that freedom. It has also been an absolute privilege anytime I\u2019ve spoken to <a href=\"\/\/models.com\/people\/miuccia-prada\">Miuccia Prada<\/a>\u2014Mrs. Prada\u2014because she is just so remarkably smart and informed about the world. She is incredibly thoughtful about her place within a broader sociopolitical and creative landscape in a way that fascinates me. But also, it was the coolest thing to be part of<a href=\"https:\/\/models.com\/work\/british-vogue-a-change-of--pace\/1372422\" rel=\"noopener\" target=\"_blank\"> Grace Wales Bonner\u2019s<\/a> first Vogue feature or <a href=\"https:\/\/models.com\/work\/british-vogue-a-change-of--pace\/1372422\" rel=\"noopener\" target=\"_blank\">Samuel Ross&#8217;<\/a> feature in Vogue. That was equally as exciting. There are these incredible, esteemed creatives I\u2019ve had the opportunity to speak with, but I\u2019ve also attended every single one of Grace Wales Bonner\u2019s shows and reviewed most of them. So I\u2019ve been able to trace her trajectory over time. It\u2019s cool in two different ways, you either get to follow someone\u2019s journey and see their work evolve, or you have these singular moments of engagement with legends. Both are meaningful in their own ways.<\/p>\n<p><strong>Moving between publications often means adapting to new audiences and editorial styles. How has your writing evolved across your career, and what challenges have you encountered in those transitions?<\/strong><br \/>\nI&#8217;ve been very fortunate in that the places I&#8217;ve worked have always asked me to be myself, so I haven&#8217;t had to contort into different spaces. At <a href=\"\/\/models.com\/client\/another-magazine\">AnOther Magazine<\/a>, I could write about <a href=\"\/\/models.com\/client\/rick-owens\">Rick Owens<\/a> all day, every day, and that was just so fabulous and amazing, it filled me with so much joy. I learned from <a href=\"\/\/models.com\/people\/susannah-frankel\">Susannah Frankel<\/a> while I was there, whom I have such great respect for. She was always super open and said, <strong>&#8220;Do your thing.&#8221;<\/strong> Then, when I moved to <a href=\"\/\/models.com\/client\/british-vogue\">British Vogue<\/a> under <a href=\"https:\/\/models.com\/people\/edward-enninful\" rel=\"noopener\" target=\"_blank\">Edward Enninful<\/a>, I was very open with him about my perspective on things, and he said, <em>&#8220;Yeah, you do you.&#8221;<\/em> I would check in every so often and ask, <em>&#8220;Am I being too me?&#8221;<\/em> because I wasn\u2019t sure if I fit into what he might have expected from me. But I just didn\u2019t know how to be anything other than myself, and he encouraged that. One of the most interesting things about working at Vogue was writing for a broad, mass audience. That magazine is delivered every month to a woman in the Midlands, so I had to consider that. At AnOther, I could assume everyone knew who <a href=\"\/\/models.com\/people\/rei-kawakubo\">Rei Kawakubo<\/a> was, but at Vogue, they might not. It was exciting to figure out how to make the things I found interesting feel relevant to a Vogue audience. I also learned a lot about a broader array of brands\u2014ones I wasn\u2019t necessarily aesthetically inclined toward. But through learning about them and working with the people there, I found new things to be interested in within fashion. I really enjoyed that challenge. I always thought, if you could get a <a href=\"\/\/models.com\/client\/mowalola\">Mowalola<\/a> handbag on a shopping page and someone buys it, that\u2019s so cool. Then at <a href=\"\/\/models.com\/client\/i-d-magazine\">i-D Magazine<\/a>, it was incredible working with <a href=\"\/\/models.com\/people\/alastair-mckimm\">Alastair McKimm<\/a>, who was really encouraging of me bringing my point of view to the table. It reflected the cultures and subcultures that I exist within, and that was really fun. I don\u2019t think I ever intentionally changed. You can adjust your tone of voice for different publications by reading examples and adapting to their style, sure. But I don\u2019t think my perspective ever shifted. I think a big part of that comes down to good luck\u2014the people and places I worked at were very open, supportive, and encouraging.<\/p>\n<p><strong>During your time as Global Editorial Director of <a href=\"\/\/models.com\/client\/i-d-magazine\">i-D Magazine<\/a>, you explored diverse cultural hubs and interviewed <a href=\"\/\/models.com\/people\/rei-kawakubo\">Rei Kawakubo<\/a>, <a href=\"\/\/models.com\/people\/martine-rose\">Martine Rose<\/a>, <a href=\"https:\/\/www.instagram.com\/headieone\/?hl=en\" rel=\"noopener\" target=\"_blank\">Headie One<\/a>, and <a href=\"\/\/models.com\/people\/joseph-adenuga-jr\">Skepta. <\/a> How do you identify emerging subcultures or creatives that align with your vision?<\/strong><br \/>\nI think it\u2019s just instinct. I really do. There\u2019s no science to it, it\u2019s an instinctive feeling about what resonates with the team you\u2019re working with, what people on a team are interested in, and what you feel naturally aligned toward. That\u2019s what\u2019s cool about magazines\u2014they offer windows into the world through different teams&#8217; perspectives. I don\u2019t think there\u2019s any more exact science than that. It\u2019s just about recognizing things that have the right energy.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/02\/The-Gentlewoman_Dark-Art_HR-3.jpg\" alt=\"\" width=\"1280\" height=\"1569\" class=\"alignnone size-full wp-image-166297\" \/><br \/>\n<small>Olivia Singer by Angelo Pennetta | Image courtesy of <a href=\"\/\/models.com\/agency\/best-represents\">BEST REPRESENTS<\/a><\/small>\n<\/div>\n<p><strong>You hosted a mentoring session with <a href=\"https:\/\/www.youtube.com\/watch?v=edal2cbkqEI\" data-rel=\"lightbox-video-0\" rel=\"noopener\" target=\"_blank\"> Virgil Abloh called What It Means to Be Newsworthy<\/a>. In it, you emphasized the importance of \u2018finding your people and working with like-minded individuals.\u2019 Did your relationship with him shape your approach to mentorship?<\/strong><br \/>\n<a href=\"https:\/\/models.com\/people\/virgil-abloh\" rel=\"noopener\" target=\"_blank\">Virgil<\/a> was the best in so many ways. He was an incredible creative, an incredible friend, and an incredible example of how open-minded and open-hearted you can be in this industry. One of the biggest things Virgil taught me\u2014God, he taught me so much\u2014was how to bring people in. I\u2019ve never known anyone so relentlessly enthusiastic about meeting new people, discovering new projects, and inviting people into his world. He was constantly sharing information, knowledge, and opportunities with others. The number of lives he changed\u2014just the ones I witnessed firsthand, is beyond comprehension. Beyond the immediate impact of his work, his broader cultural influence is vast and indelible. It\u2019s so interesting how many people still mention that video to me. I still get DMs, emails, and comments about it. Just the other day, a photographer told me, &#8220;<em>Oh, I remember watching that video you did with him.&#8221;<\/em> It\u2019s surreal because I was lucky to work with him a lot, lucky to be friends with him, but that video is one of the rare things my name is attached to. It\u2019s such a tiny fraction of the countless things Virgil did, and yet, if I\u2019m still getting messages about it, that\u2019s just a glimpse of how many people he continues to inspire and the sheer magnitude of his legacy. Virgil\u2019s impact was about sharing the cheat codes, he believed in opening things up, making sure young designers knew how to copyright their names, and offering both practical guidance and ideological openness. He was always hungry for knowledge, he wanted to understand everything and as soon as he learned something, he wanted to share that knowledge with others. Seeing the impact of that generosity on so many people is incredibly inspiring. He was so enthusiastic about <a href=\"https:\/\/www.instagram.com\/rubricinitiative\/\" rel=\"noopener\" target=\"_blank\">Rubric<\/a>\u2014he even participated in one of our panel talks, which was beautiful. He truly believed in a new world order, but beyond that, he championed his community. He didn\u2019t just succeed\u2014he brought his people with him. I think one of the things fashion with a capital F struggled to understand about Virgil in the beginning was the authenticity of his relationships and community, and that\u2019s something you can\u2019t replicate. It depends on having people in those positions who genuinely want to uplift others. That\u2019s what made him so inspiring to watch. He unlocked doors for everyone, especially for people of color and marginalized communities. But it wasn\u2019t just about one group, it was about all sorts of people who had been excluded from mainstream spaces. If any of us can achieve even 1% of what he did, the world will be a better place.<\/p>\n<blockquote><p>&#8220;It depends on having people in those positions who genuinely want to uplift others. That\u2019s what made him so inspiring to watch. He unlocked doors for everyone, especially for people of color and marginalized communities. But it wasn\u2019t just about one group, it was about all sorts of people who had been excluded from mainstream spaces. If any of us can achieve even 1% of what he did, the world will be a better place.&#8221; <\/p><\/blockquote>\n<p><strong>What are you most excited about in your new role as Contributing Editor at <a href=\"\/\/models.com\/client\/british-vogue\">British Vogue<\/a>?<\/strong><br \/>\nThere are so many people I love and respect who work at <a href=\"\/\/models.com\/client\/british-vogue\">British Vogue<\/a>. I\u2019ve known <a href=\"https:\/\/models.com\/people\/chioma-nnadi\" rel=\"noopener\" target=\"_blank\">Chioma (Nnadi)<\/a> for a while, and I think she\u2019s the most remarkable woman\u2014her ability to uplift others with such grace is incredible. There are so many people in this industry, designers, writers\u2014who I know have been empowered or shaped by their relationships with her. So I\u2019m really excited to be part of her vision of lifting people up.There are also so many others on her team whom I just adore\u2014as friends and as people I\u2019ve worked with for a long time. So I\u2019m really excited to be back working with them. Whatever capacity they need me in, I\u2019m on board. I worked with <a href=\"\/\/models.com\/people\/mark-guiducci\">Mark Guiducci<\/a>, <a href=\"https:\/\/models.com\/people\/chioma-nnadi\" rel=\"noopener\" target=\"_blank\">Chioma<\/a>, and <a href=\"https:\/\/www.instagram.com\/laurajaneingham\/?hl=en\" rel=\"noopener\" target=\"_blank\">Laura (Ingham)<\/a> on the <a href=\"https:\/\/www.instagram.com\/oliviajsinger\/p\/DCXO1rpNfb8\/?img_index=1\" rel=\"noopener\" target=\"_blank\">Lightroom exhibition <\/a> that opened at the end of last year, and I\u2019m also part of some of the talks they\u2019ll be doing with designers for that. It was such a fun project to work on, and bringing the Vogue perspective on fashion shows to life in that way\u2014with such an amazing team\u2014was incredible. And beyond that, there are just so many people I love who are part of British Vogue. I think the best thing you can do in this industry is work with people you love and trust, so I\u2019m really excited for that.<\/p>\n<blockquote class=\"instagram-media\" data-instgrm-permalink=\"https:\/\/www.instagram.com\/p\/DCXO1rpNfb8\/?utm_source=ig_embed&amp;utm_campaign=loading\" data-instgrm-version=\"14\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n<div style=\"padding:16px;\"> <a href=\"https:\/\/www.instagram.com\/p\/DCXO1rpNfb8\/?utm_source=ig_embed&amp;utm_campaign=loading\" style=\" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;\" target=\"_blank\" rel=\"noopener\"> <\/p>\n<div style=\" display: flex; flex-direction: row; align-items: center;\">\n<div style=\"background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;\"><\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center;\">\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;\"><\/div>\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;\"><\/div>\n<\/div>\n<\/div>\n<div style=\"padding: 19% 0;\"><\/div>\n<div style=\"display:block; height:50px; margin:0 auto 12px; width:50px;\"><svg width=\"50px\" height=\"50px\" viewBox=\"0 0 60 60\" version=\"1.1\" xmlns=\"https:\/\/www.w3.org\/2000\/svg\" xmlns:xlink=\"https:\/\/www.w3.org\/1999\/xlink\"><g stroke=\"none\" stroke-width=\"1\" fill=\"none\" fill-rule=\"evenodd\"><g transform=\"translate(-511.000000, -20.000000)\" fill=\"#000000\"><g><path d=\"M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631\"><\/path><\/g><\/g><\/g><\/svg><\/div>\n<div style=\"padding-top: 8px;\">\n<div style=\" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;\">View this post on Instagram<\/div>\n<\/div>\n<div style=\"padding: 12.5% 0;\"><\/div>\n<div style=\"display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;\">\n<div>\n<div style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);\"><\/div>\n<div style=\"background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;\"><\/div>\n<div style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);\"><\/div>\n<\/div>\n<div style=\"margin-left: 8px;\">\n<div style=\" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;\"><\/div>\n<div style=\" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)\"><\/div>\n<\/div>\n<div style=\"margin-left: auto;\">\n<div style=\" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);\"><\/div>\n<div style=\" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);\"><\/div>\n<div style=\" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);\"><\/div>\n<\/div>\n<\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;\">\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;\"><\/div>\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;\"><\/div>\n<\/div>\n<p><\/a><\/p>\n<p style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\"><a href=\"https:\/\/www.instagram.com\/p\/DCXO1rpNfb8\/?utm_source=ig_embed&amp;utm_campaign=loading\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Olivia Singer (@oliviajsinger)<\/a><\/p>\n<\/div>\n<\/blockquote>\n<p><script async src=\"\/\/www.instagram.com\/embed.js\"><\/script><\/p>\n<p><strong>Going back to the Lightroom exhibit that you co-scripted, can you speak more about that?<\/strong><br \/>\nI worked with Mark Grimmer from Lightroom, <a href=\"\/\/models.com\/people\/mark-guiducci\">Mark Guiducci<\/a>, and, of course, the input of a wealth of Vogue editors, along with interviews from an incredible array of Vogue contributors. It was a really fun and interesting process\u2014because it was all about being concise. But seeing it all come to life and being part of that journey was so rewarding.<\/p>\n<p><strong>As a creative consultant, how do you balance editorial work with brand collaborations, and what does that role entail for you?<\/strong><br \/>\nBalance is something I\u2019m still trying to figure out in my life generally, so we\u2019ll see. But in terms of my work, I love working with brands because it allows me to see behind the curtain. You get to understand the inner workings of the industry in a way that you don\u2019t from a purely editorial perspective, why a CMO makes a certain decision, why a merchandising team selects specific colorways for stores, or why a creative director makes particular choices in their shows. Being able to see that side of the industry is something you don\u2019t necessarily have access to when working on the magazine side. I love knowing as much as I can about how things work, so gaining insight into decision-making processes across different spaces is fascinating to me\u2014especially when it comes to commerciality, which is the bedrock of this industry. In terms of what my role looks like, it can range from creative editorial strategy\u2014helping brands determine who they should collaborate with for projects\u2014to straight-up writing and storytelling. What I love most is helping brands understand how to best communicate their stories, no matter the medium. That\u2019s probably where I\u2019m most useful, offering a fresh perspective, bringing people together, and helping creatives refine their messaging. I also love working with brands because it informs my editorial perspective. There\u2019s been a lot of discourse in fashion, particularly over the past five years, as the industry has broadened its audience\u2014which is exciting in so many ways. But one of the things that gets lost is a deeper understanding of the countless decisions involved in building a brand and amplifying its message. So working with brands has really shaped my understanding of the business realities behind this industry.You get to see a collection from inception to show to store, and that\u2019s what fascinates me. Following the entire thread of a collection from start to finish is such a rare and valuable perspective.<\/p>\n<p><strong>Speaking of brands and creatives, are there any emerging brands or creatives that are on your radar right now?<\/strong><br \/>\nI love <a href=\"https:\/\/www.instagram.com\/__ponte___\/\" rel=\"noopener\" target=\"_blank\">Ponte<\/a>. I remember meeting Harry Pontefract in a Central Saint Martins showroom, and ever since then, I\u2019ve been obsessed with the weird magnetism of his perspective on things. It has this Sarah Lucas-y weirdness, but it\u2019s also so beautiful and interesting. The stories behind his fabrics and the materials he uses\u2014there\u2019s so much depth to it. What <a href=\"https:\/\/www.instagram.com\/louther__\/\" rel=\"noopener\" target=\"_blank\">Louther<\/a> is doing is really fab, they just showed with Fashion East last season, and it felt like such a fresh take on London\u2019s subcultures, something that\u2019s been re-examined a gazillion times, but the way they constructed and formed these characters felt really invigorating. The craftsmanship was incredible, considering where they are in their careers, it was amazing. I\u2019m completely besotted with <a href=\"https:\/\/www.instagram.com\/l_enchanteur\/\" rel=\"noopener\" target=\"_blank\">L\u2019Enchanteur<\/a>. They make these pendants that I think are the most beautiful things I\u2019ve seen in years. What they\u2019re doing is incredible, it\u2019s been really interesting to observe their growth from across the Atlantic. I also love what <a href=\"\/\/models.com\/client\/torishju\">Torish\u00e9ju<\/a> is doing. She\u2019s based in London but shows in Paris, and it\u2019s been incredible to see the success of her shows there. The way she modernizes craft in her work is so beautiful. Similarly, <a href=\"\/\/models.com\/client\/standing-ground\">Standing Ground<\/a> in London\u2014<a href=\"https:\/\/models.com\/client\/standing-ground\" rel=\"noopener\" target=\"_blank\">Michael\u2019s<\/a> use of couture techniques while making them feel fresh and modern is remarkable to see. It\u2019s harder than it has ever been to be a young designer right now, it\u2019s unbelievably tough. Wholesalers are in shambles. There\u2019s a recession happening, even though nobody likes to talk about it. Brexit has been a disaster for every designer, especially young designers. The cost of living in the UK is crazy. But despite all that, it\u2019s inspiring to see young creatives finding new ways to do things\u2014leaning more into direct-to-consumer models and working closely with their communities to build direct relationships. That\u2019s how they\u2019re actually making money. People have also stopped showing every season, and I think that\u2019s really interesting and positive. They\u2019re reclaiming the means of communication that actually work for their business models instead of feeling obligated to fit into an arbitrary system. I don\u2019t even know what that system is based on anymore. But finding ways to build a business that is actually sustainable? That\u2019s inspiring. Even <a href=\"https:\/\/www.instagram.com\/olly.shinder\/\" rel=\"noopener\" target=\"_blank\">Olly Shinder <\/a> did this great campaign recently\u2014<a href=\"\/\/models.com\/people\/ferdinando-verderi\">Ferdinando Verderi<\/a> worked with him on it\u2014which was so cool. You\u2019d think, <em>&#8220;Okay, a campaign\u2014it\u2019s going to cost like a billion pounds,&#8221;<\/em> but actually, it was just pictures of Olly wearing his<a href=\"https:\/\/www.instagram.com\/p\/DFW1zP7snvC\/\" rel=\"noopener\" target=\"_blank\"> clothes<\/a> in the changing room mirrors of different luxury stores in London. It was so funny and clever\u2014a really interesting reflection on the duality of fashion between big and small brands, the hyperreality of the Instagram age, fit pics, all of it. <\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/02\/So-excited-and-proud-to-now-be-a-contributing-editor-@chiomannadis-@britishvogue-alongside-some-of-my-favourite-people-not-just-in-this-industry-but-in-the-actual-world.-Thank-you-Chioma-1.jpg\" alt=\"\" width=\"1280\" height=\"1600\" class=\"alignnone size-full wp-image-166291\" \/><br \/>\n<small><a href=\"\/\/models.com\/people\/olivia-singer\">Olivia Singer<\/a> | Image courtesy of <a href=\"\/\/models.com\/agency\/best-represents\"><a href=\"\/\/models.com\/agency\/best-represents\">BEST REPRESENTS<\/a><\/small>\n<\/div>\n<p><!--pp-thumb-start--><!--PictPress found no dir \/2025\/02\/166288--><!--pp-thumb-end--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Olivia Singer by Angelo Pennetta | Image courtesy of BEST REPRESENTS Between balancing a career in fashion and co-scripting major exhibitions like Vogue: Inventing the Runway, Olivia Singer has also taken on a new challenge: learning how to drive. \u201cIt is basically my full-time job,\u201d she jokes. But beyond the driving lesions, the London-based editor&hellip;<\/p>\n","protected":false},"author":450,"featured_media":166295,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10527,10414,16,13943],"tags":[12930,14549,14773,14769],"_links":{"self":[{"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/posts\/166288"}],"collection":[{"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/users\/450"}],"replies":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=166288"}],"version-history":[{"count":40,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/posts\/166288\/revisions"}],"predecessor-version":[{"id":169685,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/posts\/166288\/revisions\/169685"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/media\/166295"}],"wp:attachment":[{"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=166288"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=166288"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=166288"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}