Sometimes divine intervention helps with finding your dream career, sometimes it's fate, but for Super Super's editor William Wright… "I was a bin man for two months, so obviously that was a big start for me in fashion!"
Fueling a lifestyle in fashion required finding a skill that would travel, and for William that was writing, which led to editing Super Super, freelancing as a fashion stylist, and (most recently) setting up Logo.
About Super Super…
What makes Super Super super-super as opposed to just super, is…the core of the magazine is founded on a sense of optimism and positivity, which is still quite rare. We're trying to make things rather than just report on things.
How would you describe its readers?
Readers are super-varied. In the beginning it was known as the 'New Rave' magazine, that was how it started, so it was very much focused in the clubs. What I've tried to do is develop that towards some of the stuff that's been going on on the internet; so, internet art, Tumblr culture – this new genertion of people, musicians who are bred from the internet.
How do you choose the content for each issue?
I get really drunk by myself and cruise the internet looking for things – no, not that!
Because we have a wide network of contributors, and they're all active in what it is they're doing – they'll be part of a scene, or some of them will be designers, or video-makers, musicians, promoters – they'll be in the heart of whatever their bubble is. Part of my job is finding those people and curating that.
Tell us a bit about Logo, what is it?
From a brand perspective, a lot of people are looking at magazines specifically and investing in them, relative to how good they'll be with selling their product. It almost becomes a question, the further down the line it goes, is the dog wagging the tail or the tail wagging the dog. So what I wanted to do with Logo is a pre-emptive thing, where we do content that is just branded. So it's only branded content; it's only advertorial or special project content that we've created working with brands. The creative control is all on our side. I think people are not offended by the idea of 'brand culture'.
How do you work with PRs?
Because I do the fashion shoots, I meet all these people. They're not just abstract names on the end of an email. So I meet them, get to know them; there are lots of evening events. So, I keep a working/social relationship with a lot of them.
Can you take us through a typical day at work on Super Super and Logo?
Because I do art direction and editing, it could be anything. I could be on a shoot, interviewing someone, chairing a meeting. If I'm doing Logo stuff – speaking to PRs, pitching special project ideas, drawing up proposals, anything. It's very multi-faceted.
And now for a really important question – who, in your opinion, is the most super: Superman, Super Ted or the Super Mario Brothers?
Superman, Super Ted and Super Mario Brothers… I would take Super Ted out of the equation because Super Mario Brothers had more sequels. I think… I can't remember… I don't think Super Ted had his own racing game franchise or anything. Superman had a few films, but…I would say…maybe his dress sense let him down…I think Super Mario Brothers had the stronger brand, so, for me, they win.