Editorial Director, Paper Magazine Humanitarian/Shopaholic
in their money-is-no-object golden years, Demling worked with only the boldest bold-faced names. She also booked celebrities for the Met Gala.She’s recently started a podcast called “Going Rogue” and she has a line-up of insiders and icons that only she could wrangle.
We caught up with Demling — and nobody tells stories like Jill.I have always been a storyteller — a really long and very detailed storyteller. Over the years people would always say ,"You should start a podcast because you have so many stories," and I would always say, "Oh yeah, with all the free time I have." It wasn't untiland our last cover — which was the 40 Icons March 2024 cover — had been replaced on newsstands that it really hit me; my 26 year career at Condé Nast hadcome to an end. It felt strange and sad. But the thing I realized is the days I truly missed were long gone. The magazine today is not what it was when I started and like I'd always say leave while the party is good because that is the memory you will keep.in June 1998, and I started going through them one by one. All of the memories came flooding back and they were crystal clear. I remembered everything about every shoot, down to what movie I cast each cover star for. I found myself laughing out loud remembering the crazy stuff that would happen on some of these shoots, like when the bullfighter from the December 2007 Penelope Cruz cover shoot got bounded by a bull right before our shoot and was in a hospital in Barcelona while we were on set in Madrid, and he wouldn't let any other bullfighter take his place, and somehow he got himself discharged and showed up the last day of the shoot limping and on crutches. The behind-the-scenes stories from these shoots are stranger than fiction and I figured, there must be some people out there who would find these conversations entertaining and if not, who cares, this will be a great excuse to catch up with myThis podcast is meant to not only entertain people but to celebrate all the artists that work behind the scenes to make these incredible images that everyone loves. When a photograph runs inside the magazine it's only the photographer's name that is big and bold. You have to look at the small on-page captions or sometimes in the back of the magazine to see who did everything else but take the photograph. I want to talk to everyone who contributed to the making of these iconic images because it really does take a village — a very chic village.I also want these conversations to inspire the next generation of creatives who are watching their beloved magazines die this long and painful death. Imagine if the industry was in this state when we were graduating college? It would be so depressing! We were so lucky to have experienced the late '90s and early 2000s. I ask each of my guests to share both practical advice and foundational wisdom . Tonne talks about "diplomacy" and how the real meaning of the word is consideration and how important it is to think about everyone on set before yourself. Mary Howard gives practical advice to anyone wanting to go into set design by stating the importance of learning AI. Norman Jean Roy pleads to budding photographers "Say something." At the end of our interview he speaks directly to them and says, "You've got everything. Look at everything that's available to you. Say something. Don't just take a picture, make a photograph. Huge difference."Have you kept a diary over the years? Who needs a diary when you have a memory like mine? People have always been shocked about the level of detail that I remember. I remember more about my best friend's ex-boyfriends than she does! And as I mentioned, I have every single issue offor 25+ years and have kept every card and thank you note a celebrity has ever sent me. But really everything is locked up in my head just waiting to come out.In doing the first few episodes have any stories come up that you didn’t remember or that shocked you? Yes! I spent the weekend editing my Tonne Goodman interview and I had totally forgotten that Gwyneth's March 2002 cover story was a reshoot. Leslie Fremar also told the story when I had her on. For the first shoot, Kevyn Aucoin had done this incredible beauty transformation on Gwyneth, turning her into Marilyn and Elizabeth Taylor in The Sandpiper with Herb Ritts shooting and Anna killed the whole story. Tom Munroe reshot the story in the studio and only 2 images ran inside the issue with Herb's original cover. I vaguely remembered the story but considering I was the one who would have had to call Stephen Huvane to tell him the whole story was killed, I am sure I had PTSD and blocked it all out. Jonathan Van Meter told a shocking story about his time at. The budgets, the talent, the passion, the work — as Tonne says, "It wasn't just a job, it was our life," and that is the truth. We lived and breathed. We loved what we did and no one did it for the money . It was the best job in the world back then and everyone on that set was the best of the best. It wasStory by Mickey Boardman/ Photography by Williejane Dent / Styling by Wayman + Micah / Hair by Jared Henderson / Makeup by Alexx Mayo / Nails by Eri Ishizu / Set design by Allegra Peyton Story by Mickey Boardman/ Photography by Williejane Dent / Styling by Wayman + Micah / Hair by Jared Henderson / Makeup by Alexx Mayo / Nails by Eri Ishizu / Set design by Allegra PeytonStory by Ivan Guzman / Photography by Richie Talboy / Styling by Angelina Cantú / Makeup by Porsche Cooper / Hair by Dom Forlette / Set design by Allegra Peyton Story by Ivan Guzman / Photography by Richie Talboy / Styling by Angelina Cantú / Makeup by Porsche Cooper / Hair by Dom Forlette / Set design by Allegra PeytonStory by Georgia Evans / Photography by Ellen von Unwerth / Styling by Mike Adler / Grooming by Luca Tullio / Set design by Caylah Jean Story by Georgia Evans / Photography by Ellen von Unwerth / Styling by Mike Adler / Grooming by Luca Tullio / Set design by Caylah JeanStory by Erica Campbell / Photography by Yasmine Diba / Styling by Valeria Semushina / Makeup by Loren Canby / Hair by Marissa Marino / Nails by Anna Wesolowska / Set design by Kelly Infield Story by Erica Campbell / Photography by Yasmine Diba / Styling by Valeria Semushina / Makeup by Loren Canby / Hair by Marissa Marino / Nails by Anna Wesolowska / Set design by Kelly InfieldStory by Joan Summers / Photography by Kenyon Anderson / Styling by Marissa Pelly / Set design by Liz Mydlowski / Makeup by Rommy Najor, Mollie Gloss / Hair by Akihisa Yamaguchi, Sergio Estrada / Grooming by Kennedy Trisler Story by Joan Summers / Photography by Kenyon Anderson / Styling by Marissa Pelly / Set design by Liz Mydlowski / Makeup by Rommy Najor, Mollie Gloss / Hair by Akihisa Yamaguchi, Sergio Estrada / Grooming by Kennedy Trisler
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