The glossy's Style Features Director has quite the media resume:
Author:Ana ColónPublish date:May 4, 2020In our long-running series "How I'm Making It," we talk to people making a living in the fashion and beauty industries about how they broke in and found success.
Ahead, Maza talks his moves up the masthead, the source of his journalism aspirations and, of course, those legendary coverlines. To have emerged with stories that I found enjoyable to report on, stories that people hopefully remember for one reason or another — I'm very proud of that period. That's what brought me to New York for an interview with Peter — with no expectation that I would get it, because I thought you would need to be Nora Ephron's kid to get a job at Women's Wear Daily. The interview would have been good enough, because it would've meant meeting my hero, someone whose paper, The New York Observer, was so formative to my journalism education and very much informed my sensibility and point of view.
When you were at WWD, you made the transition from reporter to editor. What made you want to make that change? At the time, W had a very bare-bones staff and infrastructure. The pitch for why I should come from both Dirk Standen, who was the digital director at the time, and Stefano Tonchi, then the editor-in-chief, was that Condé Nast was investing in W. If I went over there, I could build something from the ground up — which we did, I feel.
But, there was another element to it: Town and Country — historically, and especially during the time that Stellene has had it — really appreciates good writing and good writers. I knew that I would be able to offer writers a decent wage for their tireless work in a way that when I was at W, I had to barter and beg. I didn't have a good way of paying writers. I was really looking forward to call people that I like and be able to give them a decent rate.
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