She talks her career in editorial, her move to Mexico City and the Latin American designers catching her eye right now.
Author:Ana ColónPublish date:Apr 6, 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.
Mexico's home now. And through her work — at Vogue Mexico and Latin America, but also through projects like curating Bloomingdale's The Carousel and through hosting showrooms in Paris at highlight regional talent — Martinez de Salas is bringing attention to the output of Latin American creators: designers, models, stylists, architects, chefs and more.
I cold-called people, and I had the opportunity to work at Aeffe with Michelle Stein, who's still there. That was my first big internship and where I learned what exactly what I wanted to do. I was in the sales department there, and I knew I didn't like that. An editor from W came in, and she was pulling clothes for a celebrity, and I was like, 'Oh, what is she doing?' The girl that I worked for explained to me what that was.
I was also doing some freelance work for Travel + Leisure and Glamour U.S. I had a brand with a friend of mine, that unfortunately had to close a few years ago, that I worked on. But I knew that, if there was an opportunity to be at Vogue, then, yeah — it was my dream, in a way, since growing up, to be the editor-in-chief of a magazine. It was definitely something that I knew I was ready for. It's just, I wasn't sure when.
What have been the other differences that you've had to learn about — or relearn — as you started working in Mexico City, versus your time in New York? I would say now there are people that I lean on that are like my contemporaries, but at the same time are mentors, people that you use to bounce ideas of off. Smart women like Rickie de Sole and Karin Nelson.
A lot of the issues you've published during your tenure as editor-in-chief have gotten a lot of international attention — the Yalitza Aparicio cover, the Afro-Dominican model cover, the Muxe cover. Tell us a bit about how those came together: What conversations did you have internally about them and how it has guided the way you plan future editions?
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