CREDITS – All images sourced from the Team Philippe Uter
The visionary behind two renowned publications and the mastermind of one of the most iconic “break the internet” moments in print magazine history, opens up to The Peacock Magazine about the riveting journey of his career over the past few decades.
Q) Tell us about your growing up years. How inclined were you towards fashion back then? When did you first realise that you wanted to work in fashion?
Mickey Boardman (MB): I was born in Chicago and grew up there. As a kid, I discovered my love for magazines. When I was around 10 years old, I would spend hours in the giant magazine section at the supermarket, fascinated by the variety. I also loved going to Woodfield Mall, which is one of the biggest malls in America. Even as a small child, I was drawn to the more glamorous stores like Marshall Field’s, which had fashionable and stylish clothes. However, no one I knew worked in fashion or any creative field. My father was a pharmacist, and my mother was a housewife. The closest I got to anything glamorous was my mother’s friend, whose mother was an Avon lady selling beauty products door-to-door. Although my mother had a cute style and was quite young when she had me and my brother, I wasn’t really exposed to fashion in my early years. Sometimes, we would drive to Chicago for a day of shopping, which I thought was fabulous. I was always attracted to big cities and the excitement they offered. But it wasn’t until college that I truly delved into fashion. I studied Spanish at Purdue University in Indiana and spent my junior year in Madrid. During that time, I got really into fashion, working full-time in the city and shopping at my favourite store named after Adolfo Domínguez–a designer I found incredibly glamorous. Travelling around Europe further fuelled my passion for fashion. After completing my degree in Spanish, I moved to New York City to study fashion at Parsons, and that’s when I fully immersed myself in the fashion world.
Q) How did you land your internship at Paper?
MB: I had never really taken any fashion or art classes, except when I was a child. In high school or college, I didn’t pursue these subjects seriously. In college, I did take one design class, but it was more like graphic design. I took it for fun, but most of the people at Parsons had attended art high schools and were excellent at drawing. I was starting from the very beginning, which was something I loved. Being in a place where I didn’t know anything felt liberating because I didn’t know what I was supposed or not supposed to do. It was similar to when I started yoga in India without any prior experience. When I started at Parsons in 1989, internships were encouraged. There was an office with a bulletin board listing internship opportunities. I applied for one at Francesco Scavullo’s photography studio. He was famous for doing Cosmopolitan magazine covers featuring top models. I thought it would be a glamorous place to work, but I didn’t get the job since I wasn’t a photography student. Around the same time, I made friends with some students from Columbia University. One of them, Alex Kuczynski, who later became a writer for The New York Times, introduced me to Wendy Gabriel, the managing editor of Paper magazine. I discovered Paper magazine when I saw a copy featuring Patricia Hearst in a store window. I found it fascinating and became obsessed with it. When I met Wendy, I expressed my love for Paper, and she suggested I apply for an internship. I got the internship and started working there while studying at Parsons. At Parsons, they were focused on training us to work in established fashion houses like those on 7th Avenue. My style was different, and most teachers weren’t supportive, but I enjoyed my time at Paper where my wild style was appreciated. I interned at Paper for three semesters, eventually becoming the star intern. During my final year at Parsons, Wendy asked me to interview Vanessa Paradis. I hesitated because I didn’t consider myself a writer and didn’t have a tape recorder. I declined, but later, when she asked me to interview Rupert Everett, she insisted I give it a try. I wrote a sample introduction, which she liked, so I went ahead with the interview. It was an exciting experience, and I realised I preferred working in media over fashion design. I ended up failing a crucial class at Parsons, which meant I couldn’t continue to the next semester. Around the same time, the photo editor at Paper, who managed the interns, quit. They asked me to help out temporarily. If I hadn’t failed my class, I wouldn’t have been able to take the job. What seemed like a setback turned out to be a pivotal moment. I started working full-time at Paper in January 1993, and I’ve been there ever since.
Q) What was the major lesson that you took away with you from your first job? Could you also tell us how challenging it was to file your first story? Any interesting anecdotes about it?
MB: The first thing I learned was that you can’t really know what you want to do until you try it. You don’t truly understand what something is like until you’ve experienced it. For instance, I thought I wanted to be a fashion designer because I loved fashion, clothes, and shopping. However, I soon realised that I didn’t have the talent for designing or constructing clothes. I’m more suited to roles like a stylist or an editor. Similarly, with working at a magazine, you need to try it to understand what it’s truly like. This trial-and-error process helped me discover what I was good at and what I enjoyed. One reason why my experience at Paper magazine worked out so well is because they were welcoming and supportive, unlike my experience at Parsons. It’s crucial to find a place that accepts and encourages you because that support motivates you to work hard and do your best. I used to take everything very seriously and was worried about getting fired or not being good enough. However, the co-founder of Paper always said, “If you can talk, you can write.” We approached writing from the perspective of being a fan. At Paper, we preferred to assign stories to writers who were fans of the subjects they were covering. For example, I knew a lot about Rupert Everett and was a huge fan, which made my writing more passionate and informed. This approach ensured that we wrote about people we admired and wanted to share our enthusiasm with others. Writing about people I was a fan of made me want to do them justice and produce my best work. Our goal at Paper was to highlight amazing individuals and share their stories, making others fans as well. This attitude came naturally to me and contributed to my successful fit at Paper over the years.
Q) How did you navigate your career thereon? What were some of the milestone moments for you at Paper?
MB: Well, I never really had a specific career ambition or plan. I just wanted to do something that made me happy and that I found interesting and creative. I always thought the work we did at Paper was wonderful, and I was thrilled to be a part of it. One significant milestone for me was when I stopped answering the phones. At that time, Paper had never really hired a full-time receptionist. Usually, whoever was running the office would also answer the phones. There had only been Maggie, the woman who hired me and then quit, and then me. At a certain point, I told Kim, “I would love to maybe not answer the phones anymore.” She said, “We’d love to hire somebody, but how do we even hire a receptionist?” One day, someone called and said they wanted to fax their resume for the receptionist position. I put her on hold, ran to Kim, and exclaimed, “Someone wants to send their resume to be a receptionist!” Kim was equally excited. We ended up hiring that woman, and she was amazing. That was a big milestone because it allowed me to focus on other responsibilities. For example, I would often be interviewing someone while also answering the phones, which was chaotic. Another milestone was writing my first cover story in 1994 about Milla Jovovich, who was 16 at the time. Organising my first cover shoot was another significant step. Although I was the photo editor from the beginning, I had no formal training and learned on the job. Being a devoted reader and fan of Paper helped me understand which photos fit the magazine’s aesthetic. Kim trained me by having me suggest photographers and explaining why certain choices were better than others. Starting to work in India was also a milestone. I went to India for the first time in 2007 for Lakme Fashion Week and became obsessed with it. Now, I’ve been there about 40 times. Kim Kardashian was another big one, of course. Interestingly, I often remember the experiences more than the final products. Some big successes were torturous for me, while some less successful projects were incredibly fun. Overall, I have fond memories because I’ve survived and come this far. You just sort of learn as you go. It’s been an interesting journey.
Q) Being at the helm of an international magazine, how did you cope with the pressure of delivering a quality edition every month?
MB: It was and is very stressful. At a certain point, you learn that you just have to get it done. Each month, there needs to be a great cover, and there are a million other things that need to be done. In my early days, I took everything so seriously—it felt like the end of the world if the cover fell through. But I learned that it’s not the end of the world; you have to figure out what you can do with what you have. It’s still stressful, but I know it’s not the end of the world. You have to figure things out and make something great. Readers don’t know what goes on behind the scenes—they only see the final product and either love it or don’t. You can’t get too stuck on something that’s not working. Through experience, you learn that you can always work everything out. There have been times when we were going to the printer in a few days and didn’t have anything for the cover, but we figured it out, and it was fine. When you know and accept that it makes it easier to handle stressful situations. Sometimes it’s best to cancel something that’s not working rather than fight it. Often, threatening to cancel something can actually make things come together because people realise the urgency. I’ve been lucky that everyone at Paper was hardworking and took things personally because we loved it, not just because it was a job. Every job can be stressful, but publishing is unique because you have to do it all over again each month. Your work is never really finished because there’s always something else that needs to be done. But it’s also another opportunity to do something fabulous, so it’s great at the same time.
Q) Can you share any insights into the editorial process at Paper–from idea generation to final publication? How do you collaborate with writers, contributors, and the broader team to bring the vision to life?
MB: Yes, well, over the years, we were fortunate because Ken had Paper, initially started by Kim and David, who still owned it. They sold it about 7-9 years ago, something like that. It wasn’t like there was some sort of rigid corporate structure where we had to get permission or stay within certain boundaries to be safe and not do anything too crazy. We were working alongside the owners, so we could pursue whatever ideas they approved. They were more artists than businesspeople, open to anything fabulous. That was always great. We would have meetings to come up with ideas. Kim often came up with the big theme issues, based on what we observed in the air, what was happening, or what we wanted to do. Sometimes the cover person idea came first, and at other times the theme did. For instance, I remember when we decided to feature Kelly Osbourne on the cover, which ended up being one of my favourite covers. It coincided with Sophia Coppola announcing her movie Marie Antoinette and John Galliano’s Marie Antoinette-themed Dior show. We sensed a Marie Antoinette mood in the air, so we shot Kelly as Marie Antoinette, along with a few other famous people. That was something we didn’t usually do, but it was fun and cohesive. We also did big themes like a food theme or a theme about America. For instance, Kim did a story about rebranding America, asking different advertising people and artists what they would do to give America a new image. We built from there, making the magazine not just a collection of unrelated stories, but a cohesive package. The “Break the Internet” issue is a good example. Drew Elliott, who had been an intern and later my assistant, eventually became partners with Kim and Dave. He wanted to give Paper a makeover with a more commercial, celebrity-driven focus. We worked on it for months, planning it for the 30th anniversary issue, ten years ago. Drew wanted Kim Kardashian on the cover. We had previously shot Kim with her sister Khloé for a social media issue, and she was wonderful to work with. However, Kim Hastreiter, despite being a huge fan, felt that for the anniversary issue, the focus should be more on the history of Paper rather than a big celebrity. After discussing it, Drew and I were at a loss since we had already talked to Kim’s people. Drew then said, “If we have Kim Kardashian on the cover, it will break the Internet.” I don’t know if he invented that phrase, but it stuck. We decided to pitch a different issue themed “Break the Internet,” all about doing things that make the Internet go crazy. Kim loved the idea, and we launched it at Art Basel, which turned out to be fabulous. Sometimes, what starts as a setback can lead to an even better outcome.
Q) Did you feel like this would be the “it” moment in fashion and publication history and for you?
MB: Well, I always say that will be on all our tombstones—you know, Kim Kardashian and all of us from Paper who worked on it—and I’m fine with that. For me, it was amazing. As someone who lived through the pre-Internet era, I remember how different things were back then. In those days, the measure of success between a big sales success on the newsstand and a less successful issue wasn’t that different. There was only a certain number of people who bought magazines in general. So, we measured our success in different ways. Now, with the Internet, you can tell exactly how many people have seen something, and most people see it on Instagram. They aren’t necessarily seeing the magazine itself or even visiting the magazine’s website; they’re seeing it on social media. Before the Internet, it was more about how the press reacted, how fans reacted, and how we felt about it from a creative perspective. Now, success is very much determined by how many likes it gets on Instagram, how many views on TikTok, and how many views on the website. It was a more free time before the Internet because there were other measures of success. In the end, being remembered for things like the “Break the Internet” issue is fine with me. Similarly, being remembered for the “Runway” theme issue is something I’m totally okay with. Success, to me, isn’t just about the big numbers but also about the experiences and creative fulfilment. There are things I remember and love about those experiences that go beyond just their commercial success.
Q) Under your leadership, Paper has been praised for its striking take on fashion. How do you ensure that each of these issues resonates with fashion enthusiasts all over the world?
MB: Well, I think Paper has always attracted people who think the same way—those who appreciate its unique, strong point of view in fashion. I would often look at the fashion in Paper and think, “Wow, it’s so unique.” It stood out from most other magazines, and I loved it. I learned to think that way, though, in a way, I always did. Once you start doing things from a certain perspective, you naturally gravitate towards designers and ideas that resonate with that view. There are designers that we at Paper love, such as Rick Owens, Thom Browne, and Isabel Toledo, who were just amazing. We can’t help but share our excitement about them. We approached it from a fan perspective—seeing a Rick Owens show and thinking it’s amazing, for instance. We also support photographers and stylists with unique points of view. The world doesn’t need another magazine showing the same safe, boring looks from fashion shows that everyone else is already doing. It needs original voices, and that’s what we provide. The people who work at Paper share this mentality and the idea of wanting to share new discoveries with our audience. We love to introduce new things to people or show a new side to a famous celebrity, offering insights that readers might not have known. That’s why we do what we do—it aligns with what we love and our passion for discovery. Some of my favourite stories we’ve done support interesting young designers, photographers, and talents, even if they aren’t huge successes in terms of traffic. I love those more than the stories that get massive amounts of attention because I feel it’s our calling to share news about wonderful talents and young people. So, I’m very happy with those kinds of stories, even more than working with big celebrities.
Q) How do you see the future of digital journalism evolving?
MB: I think there will always be content, though we’re in a difficult time now because the media is struggling and things have changed so much. The algorithm on Instagram is so messed up that magazines aren’t getting the engagement they once did. It’s frustrating and makes social media feel less fun. I’m not sure if a new platform will come along to reinvigorate things, but people will always want content. There will always be a place for magazines and content creators. However, the business side of magazines has become increasingly challenging. Even Paper closed for a while last year before being bought and making a comeback, which was exciting. But it’s a really difficult situation. For those interested in becoming writers or going into magazine work, I always say you have to really love it because it’s a tough industry. No one is going to get rich, and it’s not easy. It’s a challenging job, but for those who love doing it, it’s worth it. As for me, I’m too old to change careers, so I’m just going to keep doing what I love.
Q) Having over decades of experience as a writer and editor, how do you keep yourself inspired, relevant, and engaged?
MB: I think it’s important to recognize what you know and what you don’t know. No one person can know everything about every area of culture. For example, our current editor-in-chief, Justin Moran, loves music and is very up-to-date on the cool, new, and interesting musicians and music artists. We have different people who are experts in various areas. It’s crucial to know who to talk to and who to trust. At the same time, you often just know it when you see it. Whether it’s a designer, a musician, a film, or art, you recognize what’s right for your audience or for yourself. Those of us who work at Paper are part of the audience, so if we like something, chances are our readers will like it too, or at least find it interesting. However, it’s also important to separate yourself enough to recognize that some designers might not be to your personal taste but are still doing interesting things worth writing about. Our readers might be interested in them, even if we aren’t personally drawn to their work. So, it’s about recognizing what you know, acknowledging what you don’t, and having people around you who can guide you on what’s cool and interesting. It’s also about being open to discovering new things. Curiosity plays a big role—if you’re curious, you’re more likely to find cool, interesting new things than someone who isn’t keeping their eyes open for something new.
Q) How would you describe your journey so far? If you had to give it a title what would it be?
MB: It’s really been a roller coaster, with ups and downs, great moments, tough moments, fabulous excitement, and also some scary times. I started as an intern in 1992, so that’s 32 years ago—an incredibly long time to be working at one place. I’ve done freelance work and worked for other places too, but Paper has been the consistent part of my whole adult career. I have friends who move from one job to another every year or two, but I love that I’ve been with Paper for so long. There are certain rewards that come with staying at a job for a long time. You learn so much and grow so much, and there are unique rewards from that kind of long-term commitment. I’m very grateful for that. I’ve lived in the same apartment for over 30 years, so I’m the kind of person who likes to find one place and stay there. It hasn’t always been easy or fun, but overall, it’s been amazing, fun, and rewarding. I’m very happy about it.
If I had to give it a title, I’d call it “The Roller Coaster.”
Q) Who has been the biggest influence/mentor in your career?
MB: Well, Kim Hastreiter definitely had a significant influence, as did Drew Elliott, who helped remake Paper and started as an intern. I always felt that if Kim was the grandmother and I was the father, Drew was the grandson—representing the next generation of Paper. Drew, along with Tom Florio and Michael Child, bought Paper from Kim and David and took it over, although Drew has since left.
Now, the magazine is owned by Brian Kaye, who, along with Justin Moran, the current editor-in-chief, is shaping its future. It’s been a process of learning and adapting to these changes.
Throughout all these transitions, I feel that everyone involved has understood and appreciated what Paper stands for. We all share the same goal: to spread the news about amazing talent, work with incredible people, and give them the exposure and opportunities they deserve. This common thread has allowed Paper to continue thriving despite the ups and downs of the business.
Q) What do you think are some of the key values that a professional in the magazine/publishing domain ought to imbibe?
MB: Well, I think it’s crucial to support talent properly. Talent needs to be paid fairly, supported adequately, and given the resources they need. This can often be a challenge. It’s also important to respect talent. We’ve always aimed to give artists the opportunity to create without micromanaging them, allowing them to excel in what they do best and to have their work seen as they envision it. We need to embrace and support creating safe and diverse spaces for people to work in. While there have been some changes since movements like Me Too and Black Lives Matter, there’s still more work to be done. Underserved communities need to be better served and more respected. So, I think we all still have work to do.
Q) What advice do you have for aspiring editors, particularly those interested in working in the field of fashion media?
MB: As I mentioned earlier, you really have to love what you do in this field. It’s easy to think it’s all glamour, fun, and sipping champagne at fashion shows, but a lot of it involves hard work, schlepping, and challenging tasks. However, if you truly love it, it’s worth it because it’s an amazing experience. You also need to give it a try—perhaps as an intern or an assistant—so you can see what actually goes on in the industry you’re considering. It’s important to see if it’s the right fit for you. Maybe you find that you prefer working for a brand, in retail, or in another area of fashion. Trying different roles will help you discover what you’re truly passionate about and excited to pursue.
Q) After having so many conversations with the bigwigs of the fashion and entertainment industry, what’s an example of a bad question? And a good one?
MB: To me, a good question in an interview is one that brings out the best in the subject, rather than showcasing how smart or knowledgeable I am. I used to listen to interviews I conducted, and sometimes I thought I sounded like an idiot, while at other times I felt proud. However, what mattered most was that the subject sounded smart and insightful. That’s the mark of a good interview. A good interview isn’t about asking obvious questions like, “What was your inspiration for this?” It’s about asking unexpected questions that make the interviewee think and say things they haven’t said in any other interview. Most interview subjects have been interviewed countless times, so it’s important to get them thinking about new things. Being knowledgeable about the subject or being a genuine fan helps you ask deeper, more meaningful questions that the average interviewer might not know to ask. It’s about drawing out interesting responses from the subject and leaving your own ego out of it. While it is a conversation, it’s a conversation aimed at getting great material from the subject.
Q) What does a day in your life look like?
MB: Well, right now, Paper is operating virtually, and we don’t have an office. I would love for us to have one, but we sometimes work out of a shared workspace called NeueHouse, which I’ll be visiting on Wednesday. Typically, my day starts with checking emails. Currently, I’m working on a huge project for Paper about New York theatres. This morning, I’ll be sending out questions via email to several people we’ve recently photographed. Additionally, I’ve been serving as the Creative Director of Playgirl magazine, which is based in California. So, later in the morning, I’ll start dealing with emails from them as well, given the time difference. My day often includes several Zoom meetings—business meetings with Paper, discussions with brands we’re collaborating with, and meetings with Paper colleagues to discuss ongoing projects. In the afternoon, I’ll be doing some writing. I usually take a break to go to the gym around lunch time. Over the weekend, I attended a few Broadway shows as part of the theatre project I’m working on. This week, I’ll be doing similar activities. It’s a very post-COVID work environment with a lot of varied tasks throughout the day. One thing you learn working in a magazine is that at some point, you have to let go and move on to the next project. Whatever problem you encounter will be solved soon enough. There’s always something new and interesting on the horizon.
Q) What’s next on the cards for you?
MB: This year marks Paper’s 40th anniversary in 2024. Paper started in 1984, so we have a bunch of fun things planned for the rest of the year to celebrate this milestone. One exciting project I’m working on is a big beauty feature, which promises to be fun and engaging. In addition to my work with Paper, I’ve been involved with Playgirl, a classic magazine focused on entertainment for women that’s very sex-positive. Last week, we launched our second cover set, which features soap opera actors from my favourite soap opera, Days of Our Lives. We’re working on more exciting projects for Playgirl as well. Overall, my work feels like a buffet, much like Indian cuisine, where there are always a variety of delicious little things to nibble on. Each project is enjoyable on its own but even more delightful when combined with others. It’s a mix of fun and exciting activities that keep me engaged and inspired.
Q) What are your views on ‘art in the fashion world’?
MB: I think fashion is supposed to be fun, and if you think of it as art, great. If you don’t, that’s fine too. For me, fashion is all about having fun and loving what you’re wearing. It’s more about an emotional, visceral reaction than thinking about it as art, but that’s just my personal opinion.
Q) Which is your favourite fashion film of all time?
MB: Oh, girl, that’s a tough one. I think Valley of the Dolls.
Q) Your forever-favourite fashion icon.
MB: I love the actress Gloria Swanson because she was always glamorous. My good friend Lynn Yeager is amazing. There are Isabella Blow and Daphne Guinness. People like them don’t come around very often, so we have to appreciate our fashion icons, celebrate them, and adore them. Hamish Bowles is another one with amazing style.
Q) What are your wardrobe must-haves?
MB: Anything sparkly, like a sparkly top. I love simple American sportswear shapes but in sparkly fabrics.
Q) A fashion advice you’d like to give.
MB: I think everybody should look at what they’re wearing and if they don’t shiver with delight, they should be wearing something else. Always wear something that you think is really, really great. If you’re not doing that, you’re doing something wrong.