The Business of Magazines #3 - Page 60 - the Fashion Spot
 
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Originally Posted by Miss Dalloway View Post
Thanks for posting, that sounds like they have a healthy growth! It really surprised me to read that in Guardian, but now they removed it, i guess it could have been a mistake.

Porter has been doing some bad covers/issues lately, so no idea how it managed to up the sales figures. I do think Porter is more focused on Fashion, and lifestyle than VF, so I guess in that sense they compare it to UK Vogue. Also a circulation of 180,646 is shockingly good, and more than Bazaar or Elle, and in the Vogue bracket, wow.
Porter does very well with subscriptions. £17 for a year's worth of issues and a £150 moisturiser when you subscribe was the most recent offer. They also, I believe I'm right in saying this, gift subscriptions to a large percentage of Net-A-Porter's top spenders. So I wonder if they're included in the circulation figures. They may not have bought it as such, but they are readers of it, so I suppose it still counts.

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^ Those are great offers indeed, and must count a lot, in the end.

Thanks for The Telegraph article, man so much drama over this. And more it's revealed the worse CN & Edward look!

There is NOTHING worse than when you know you are about to get fired, but the spineless person in question starts it with small talk, like back pains in this case, as if it's just another day, and this is not a terrible thing that is happening to you!!You are fabulous, you are British Vogue, but bye? And he told her how much he respects her work, weeks prior? Damn, that is just NASTY!!!!

Also; really Jonathan Newhouse? He is giving him full reign? Well, good luck with that, it sure as hell started rocky, I hope it won't have the same end!

Ps: Chambers was later on informed the article will go online, and she still approved, smh!

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I'm not too surprised about Porter being so close to British Vogue in circulation, despite some weak issues recently, it is still the better publication of the two. By far!!

There's actually a sense of the Porter team at least trying to make a good fashion magazine, something that's been lacking at Vogue for a long time.


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Quote:
Originally Posted by honeycombchild View Post
Porter does very well with subscriptions. £17 for a year's worth of issues and a £150 moisturiser when you subscribe was the most recent offer. They also, I believe I'm right in saying this, gift subscriptions to a large percentage of Net-A-Porter's top spenders. So I wonder if they're included in the circulation figures. They may not have bought it as such, but they are readers of it, so I suppose it still counts.
True! Porter doesn't submit their figures to ABC, they do so to BPA Worldwide, which is an American auditing company. If they did, then they would be obliged to declare every single issue. Example: ABC would state that Glamour printed 250k issues, but only sold 210k to subs & newsstand, therefore the rest was either issued for free on the Tube or at salons. Basically they distinguish between what's paid for, and what was comped. It's very detailed.

People should also remember that Porter is a global magazine, essentially structured to rival all the Vogues in their respective countries. Their distribution net is much wider than that of British Vogue for instance, which is more focused on the British demographic. That stated figure is what they get from the UK, the US and other satellite countries - not just the UK. So it's not a fair comparison next to British Vogue's 190k figure.

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So originally Emily Sheffield was to oversee the October and November issues of British vogue.
She left yesterday.

Alexandra only put September to press three weeks ago.

So who Is overseeing November?

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So originally Emily Sheffield was to oversee the October and November issues of British vogue.
She left yesterday.

Alexandra only put September to press three weeks ago.

So who Is overseeing November?
Hang on, she wasn't supposed to leave so soon. It was confirmed that she'll cover November as well.....

All this intrigue!


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WWD reported last week that she is leaving, and will indeed only oversee Oct, she left earlier, good for her, I wouldn't even do Oct!

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So much drama this year only for an EIC change!!

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^that's the problem with 'posh girls', they like drama

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Katie Grand Joins W Magazine

Editor-in-chief Stefano Tonchi tells BoF about a new chapter at W as Grand signs on as contributing fashion creative director, following the departure of Edward Enninful to British Vogue.

By Chantal Fernandez
July 20, 2017 05:30

New York, United States — W Magazine is expanding its community of core creative contributors with one of fashion's biggest names. Instead of directly replacing former fashion and style director Edward Enninful — who will begin his post as editor-in-chief of British Vogue in August — the Condé Nast media brand has confirmed that beloved stylist, creative director and editor Katie Grand is signing on as contributing fashion creative director.

Grand will style fashion stories and help editor-in-chief Stefano Tonchi conceptualise special issues and editorials while continuing her role as editor-in-chief of Love, the magazine she founded in 2009. In addition, W has hired Vogue’s Sara Moonves as style director and Rickie De Sole has been promoted to fashion director.

When considering how to replace Enninful, Tonchi says Grand was at the top of his list of talent. “We share a lot of values and I love her enthusiasm,” he tells BoF, adding that his background in independent magazines and familiarity with the British media scene where Grand first made her name — she co-founded nineties fashion bible Dazed & Confused with Rankin and Jefferson Hack before launching Pop magazine in 2000 — makes them natural collaborators. Grand’s irreverent and distinctive eye, her relationships with fashion’s most talented photographers and her understanding of the kind of visual content that resonates online will also prove to be an asset for the magazine.

Source: W Magazine

“I've bought W since I first started buying magazines,” Grand tells BoF. “I was a huge fan of Michael Thompson's covers in the nineties and Miles Aldridge covers with all the supermodels when he first started taking pictures. It's a great American magazine with so much fantastic history.”

But few creative directors like Grand, who was a rumoured candidate for the top job at British Vogue, are willing or able to commit to full-time to single publications in today’s market. “A lot of people don’t want to be pinned down in a specific place,” says Tonchi, citing Grand’s many projects across editorial (contributing to Vogue Paris, Tatler, Industrie, Interview and more) and advertising (for Louis Vuitton, Prada, Tom Ford, Loewe and many more). She is also known for her longstanding creative partnership with designer Marc Jacobs, which whom she works on runway and campaigns.

Grand joins W’s core community of contributing stylists, which includes Giovanna Battaglia Engelbert, Melanie Ward, Benjamin Bruno and Lotta Volkova and is supplemented by guest creative collaborators such as Marc Ascoli and Terry Jones. Grand’s first portfolio, focused on couture, will appear in the October issue.

“I started thinking about a structure that would let talent come in and give their best, and also to have a more kind of reliable core here at the magazine,” says Tonchi. “We nurture talent and we give them the space to really flourish. And that’s our function inside the company, too.” Indeed, two of Tonchi’s past editors, Enninful and former fashion market and accessories director Karla Martinez Salas, have been poached to helm magazines elsewhere in Condé Nast’s portfolio. (Martinez Salas is now editor-in-chief of Vogue Mexico and Latin America.)

“In a moment like this, it’s important to share the talent,” says Tonchi. “I am very happy to take [Moonves] from Vogue and give her a larger stage. My editors went to work for great Condé Nast titles… it’s this idea of sharing talent and sharing resources and coming together to put out the most memorable images.”

In a moment like this, it’s important to share the talent.

Grand joined the Condé Nast family back in 2009 when Condé Nast International chief executive Jonathan Newhouse invited her to launch her own magazine. The bi-annual publication Love has become a platform for famous names to take risks through fashion and a launchpad for new faces, such as Lily-Rose Depp and Kendall Jenner.

Moonves, currently contributing fashion editor at American Vogue, is also known for her work with a new generation of models and photographers, and Tonchi highlighted her relationships in Hollywood as an important asset. She will style shoots and also oversee the front of book.

W magazine has been led by Tonchi since 2010 and is set apart on the newsstand by its oversized pages, provocative and bold editorials, and high-gloss coverage of fashion, film and art. The magazine is one of the smallest in Condé Nast’s US portfolio with an average paid and verified circulation of 457,962 in 2016. September’s issue sold 463,895 print and digital copies versus 33,614 the same month three years prior. In June 2017, W’s website registered 1.8 monthly unique US visitors, up from just under 1 million the year before, according to ComScore.

“Because we are smaller in the distribution, we are more experimental,” says Tonchi, who has worked over the last several years to transform W into a more collectible, premium print product. October 2016’s “his-and-hers” issue, with ten different covers, is an example of a new and ongoing initiative.

To that end, the magazine is adding an additional holiday issue to its schedule, bringing the print frequency up to 11 per year. Tonchi says credit for the decision goes to the magazine’s new publisher Chris Mitchell, who introduced a holiday issue when he was at Vanity Fair.

“We want to restructure the calendar in a way that you have a magazine when there is a need for it, when you can put out something special and something thick and something with a strong presence — and not just have it at the end of the month because you have to have it,” says Tonchi. “It’s a new world, we have to think about print in a new way.
Source: https://www.businessoffashion.com/ar...3223-417355313

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She's capable of creating nice edits but her obsession with Instagirls and other banalities of that sort has diminished my perception of her. I'm anything but excited about her appointment, she seems to have more than enough outlets for her mediocre work anyway. Also am I getting things wrong or have those contributing editors been completely absent from the pages of W for at least a year?

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Exactly why Katie Grand is still a thing is beyond me.

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Wow where does she get the time?... I mean she does so much work for Miu Miu and Marc Jacobs already... in addition to LOVE... Congrats to her!

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So this position was most likely CN's consolation prize to Katie? I mean, she had her name written over that position. I will say that Grand will most likely help with W's ailing circulation. Her brand, although not to my taste, will at least provide something fresh for W. It sounds like the covers will be divided by Sara and Katie.

Love how Tonchi is spinning not being able to afford someone like Katie into granting them 'liberty'. Please, cost must be kept to a bare minimum so of course they will only employ freelancers. The numbers WWD is pushing out here doesn't add up. Last September sold 463K in print and digital? Dream on!

And does a Holiday edition mean a thick December (by their standards) and a painfully thin January edition?

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If she manages to bring to W what she did at POP magazine, it could work out. But LOVE is an utter mess to me, so yeah... Not exciting news.

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