Can the Exclusivity of Luxe Survive in Today's Inclusive Era?

[blueorchid]

From content observation from inception to itheir current state, it does seem that Anna and CN seems to reign in some level of content-control with China and Japan, as there have been a noticeable inclusion of shared content/reprints of Western Vogues from these publications.

I'm pretty sure that the Chinese and Japanese editions of Vogue aren't licensed, but published through Conde Nast China and Conde Nast Japan. Taiwan, too.

The licensed editions of Vogue are: Adria, Arabia, Australia, Brazil, Czech Republic/Slovakia (I forgot this edition exists), Greece, Hong Kong, Korea, Netherlands, Philippines, Poland, Portugal, Scandinavia, Singapore, Thailand, Turkey and Ukraine.

The CN ones are: British, China, France, Germany, India, Italy, Japan, Spain, and Taiwan.

Personally, I don't find the asian editions of Vogue to be much better than what's offered than the standard CN slop, but that could just be by biases. They bore me in a different way.

 

[Drusilla_]

yeah well I did single out Vogue Taiwan but I haven't forgiven Vogue Thailand for that graph-paper Olympics cover.

 

[Phuel]

I'm pretty sure that the Chinese and Japanese editions of Vogue aren't licensed, but published through Conde Nast China and Conde Nast Japan. Taiwan, too.

The licensed editions of Vogue are: Adria, Arabia, Australia, Brazil, Czech Republic/Slovakia (I forgot this edition exists), Greece, Hong Kong, Korea, Netherlands, Philippines, Poland, Portugal, Scandinavia, Singapore, Thailand, Turkey and Ukraine.

The CN ones are: British, China, France, Germany, India, Italy, Japan, Spain, and Taiwan.

Personally, I don't find the asian editions of Vogue to be much better than what's offered than the standard CN slop, but that could just be by biases. They bore me in a different way.

Thanks, @blueorchid

I wished I could be convinced that the Asian Vogues are creatively-superior to the Western ones, but they’ve just all become the same muddy bathwater of mediocrity in general. Vogue Japan is a lost cause, sadly: Never been a fan of Anna Dello Russo. However, she always brought a hyperstylized POV to Vogue Japan that at times, was a worthy standout. The current VJ doesn’t even make the effort— or perhaps isn’t capable of. From what Rocco’s been capable of when he was with GQ China but now (mandated to?) churning out for Vogue China, it’s all very disappointing and subpar. This month’s issue was lacklustre, even amateur. And just like current era Japan is a shameful effort next to Vogue Nippon and Anna Dello Russo, Rocco’s no better than Margaret and both their Vogues a pale pale pale shadow of the very best of Angelica’s. Except for the occasional imagery, none of the Asian publications are bringing anything worthy of fashion remembrance (…completely forgot about Thailand, and Singapore is unbearably juvenile). I wouldn’t bat a lash if Vogue as a whole, was a thing of the past. The recent American Vogue is that perfect example of them throwing some measly old scraps and people being convinced that Anna is back on track LOL …And damn, the eyesore consumer-end ads scattered throughout that issue is on the level of supermarket weekly flyers. Walmart should take out multipage ads and start paying for advertorials in that rag. Ugly AF.

(BTW, the Korean editions of Vogue/Elle/Bazaar/Marie Claire are an interesting study of what works as an aesthetic identity that resonates with their readership. It’s always predominantly advertorials and optimized to reach their maximum readership: Women, teen females and even malse (and not necessarily gay). The monthly issues usually average at 300+ pages of unadulterated high-end consumerism [but the current Dec issue at less than 200pgs is more the exception]. …And sometimes, the occasional fashion stories are even very solid…)