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Discussion in 'Magazines' started by tFS Thread Manager, Sep 14, 2017.
Why did Thelma get ousted from HB? Afterall, Kellie first hired her when she was at Grazia.
Hi Benn *waves* lol
source | wwd
This article is dripping in the shadiness and back-handed compliments of John Fairchild-era WWD. More please!
"And he seemed genuinely nervous. His hands trembled a bit as he made his remarks after Wintour, and he frequently brushed back his hair and adjusted his frames."
"What he may lack in public-speaking polish, he makes up for in earnestness..."
"“It’s an earnest moment for me,” Welch said"
"Among the members of GQ’s so-called community present at the party were ........Justin Theroux, who made a late appearance and an early exit"
".....one couple who even brought their baby along, turned out in a blazer for the occasion"
The couple with the baby in a blazer was, in fact, Veronika Heilbrunner and Justin O'Shea, probably hustling hard for another family feature in either GQ or Vogue.
“Will has shown himself to be every inch the modern editor, someone who effortlessly embodies what GQ is becoming,” Wintour told a crowd of about 80 people. “Although, um, I wouldn’t have predicted there would ever be quite so much tie-dye in GQ.” People laughed knowingly as Wintour, herself wearing a dress that was not a far cry from tie-dye"
I'm confused. Why is this newb getting showered with so much praise so early on in the game? He literally just started his tenure as EIC. What is Anna blathering on about?
We don't need any more magazines pathetically, going through the motions of simply mirroring streetstyle fashion or regurgitating social media fads.
More than ever, we need distinctive voices equally passionate about personal style, AND fashion, compelling storytellers articulating with authoritative insight, with a keen understanding of fashion history, as well as reverence for fashion renegades of the past, present and future. Analyzing, predicting and setting the trends...
If the above sentiments truly sums up Welch's limited viewpoint on the fashion industry, he has no business at GQ let alone leading this storied magazine title as EIC.
I think it's more of a marketing effort than anything else - their sound bites, this fête. She followed exactly the same pattern with Radhika. They need to reassure existing readers and advertisers that the magazine is still worth investing in, and court new ones in the process. Despite Welch's so called resonance with what people are doing on the streets, the magazine's page count seems to drop by the month. So I'm not sure how he'll square that.
What Vogue Hong Kong’s launch says about Asian fashion media
BY KATERINA ANG
MARCH 5, 2019
The Hong Kong edition of the fashion title enters an important luxury market where print still carries weight with luxury consumers.
Vogue Hong Kong hit newsstands on 3 March, giving one of the world’s style capitals its own fashion bible.
Published under licence from Condé Nast International, Vogue Hong Kong is entering a relatively healthy market for print advertising. Brands invested $1.2 billion in print in 2017 and PwC expects spending on traditional advertisements to continue growing through 2022, says Cecilia Yau, the consultancy’s Hong Kong entertainment and media leader.
That is especially true for luxury fashion titles. Per a joint report by Ruder Finn and Consumer Search Group, 39 per cent of Hong Kongers said that advertisements in magazines and newspapers influenced their luxury purchase decisions, making print media more effective than social media.
While retail and economic growth in Hong Kong has slowed amid a US-China trade war, the city remains home to many affluent luxury shoppers and a popular destination for wealthy Chinese tourists. It is also Asia’s most important market for high-end goods, with a per capita luxury spend of $1,576 in 2017, Euromonitor data show.
Against this backdrop is a debut Vogue Hong Kong that weighs in at a hefty 350-plus pages, roughly 40 per cent of which is advertising. Its cover features Gigi Hadid and Fei Fei Sun, two sought-after stars shot by Nick Knight. The print edition will circulate about 35,000 copies.
Publisher Desiree Au says that VogueHong Kong is uniquely positioned to benefit. Advertisers who are keen to use Vogue as a conduit to recruit models and artists for campaigns have already reached out. “We have a good network of photographers, video makers and marketers that we can put together for brands,” she says. “That’s the wave of the future for media.”
More luxury shoppers in Hong Kong are influenced by magazine editorial and advertisements than commercials on social media.
A third Chinese Vogue
Vogue Hong Kong, which is written in Traditional Chinese, will attempt to replicate the commercial success of Vogue China, which has a readership of 2 million and publishes in Simplified Chinese.
Au says there’s plenty of space for a third Chinese-language Vogue. (A Taiwanese version is produced in Traditional Chinese.) “Hong Kong has a unique sense of style and culture. We’re producing something in a similar language, but in a different dialect. The cultural references and the way we use descriptions is different.”
“Vogue Hong Kong is more high-voltage, edgier and younger” than its sister titles in the region, says Karina Dobrotvorskaya, executive director of editorial development at Condé Nast International (which owns Vogue Business). “We want all Vogues to be different and push them to be personal.”
Chinese and Taiwanese Vogue both have large domestic audiences, but Vogue Hong Kong is also positioned for fashion-forward Asians outside the territory’s Cantonese-speaking population of about 7.4 million. Its fashion director is Russian stylist Anya Ziourova, known for her international outlook and mixing brands from different price points.
While Chinese Vogue has a following of about 9.4 million on Weibo, Hong Kong Vogue has no presence on the Chinese internet. Instead, it is focusing its digital efforts on platforms like Instagram, where it ran teasers and even an ad for skincare brand La Prairie before launch.
The newest Vogue is entering a mature market, where competitors like Elle and Harper’s Bazaar have been published for decades. The Hearst titles are produced locally by the magazines division of Alibaba-owned South China Morning Post Publishers (SCMP).
But there is a sense that local fashion media has become too comfortable. “They are both quite traditional,” says Jessie Au, a senior lecturer at the Hong Kong Design Institute who specialises in fashion marketing. “We need a bit of energy injected.”
Vogue Hong Kong’s commitment to working with top creative talent like Knight gives it an edge over local competitors who, Dobrotvorskaya says, are too reliant on generic, syndicated content. “If we stop working with big photographers, it stops being Vogue,” she says.
SCMP didn’t return a request for comment.
Hong Kong’s lack of a core of homegrown designers means Voguewill take a geographically expansive approach to reporting on local fashion. That translates into covering Simone Rocha, whose father was born in the territory, and the Hong Kong-born, London-based Woolmark Prize winner Robert Wun.
“If we limit geographically that makes us very provincial,” says Au. “We are an intrinsic part of Asia — that’s what makes Hong Kong special.”
That perhaps explains the magazine’s choice of Hadid, who has been accused of racism toward Asians, for its cover. The pick stirred controversy on social media and Hong Kong Vogue pulled the US model’s solo cover from its Instagram page. Social media posters also wondered why the magazine used a Western team to shoot and style its debut cover.
Au didn’t respond to a request for comment. Condé Nast International had no comment.
Hong Kong Vogue wants to capitalise on the city’s cosmopolitanism with a bilingual website curated for an English-speaking Asian audience. The plan is to tap on the popularity of certain designers and Korean pop stars who have sizeable followings across the region.
“It’s also for those in Singapore, Malaysia or the Philippines who don’t have a Vogue yet,” Au says of the three English-speaking neighbouring countries with sizeable English-speaking populations. “There’s more relevance than a Voguefrom the US or the UK. Asian people want their own things.”
looooooool ``Social media posters also wondered why the magazine used a Western team to shoot and style its debut cover. Au didn’t respond to a request for comment. Condé Nast International had no comment. ´´ = that´s not good and it does not sound smart on their behalf truth be told.
The Face is back
WTF!!! Can’t wait to see how that will turn out.
Actually makes more sense right now to reboot The Face than to launch another Vogue. Especially since all their hybrids like Dazed and Pop are doing so well. But I'm not sure what will make them stand out in an already cluttered ALT magazine market.
The Face Is Back
The team behind the relaunch of the British style bible speaks to BoF about its new strategy and the ‘double-edged sword’ of its cult heritage.
BY CHANTAL FERNANDEZMARCH 25, 2019 13:07
LONDON, United Kingdom — The Face is back. The British style bible, which had sizeable cultural influence in 80s and 90s under founder and editor Nick Logan and has been out of publication since 2004, is making a long-awaited return as a digital and quarterly print publication. Under new ownership and editorial direction, the revamp will debut online in late April and in print in September. On Monday, it launched on social media.
Founded in 1980, the original title positioned itself at the intersection of London’s youth movements — from punk to rave — and the cultural mainstream. Sophisticated but disruptive, the title launched around the same time as i-D and, at its peak, sold over 70,000 issues a month.
Dan Flower | Source: Courtesy
Its mix of serious journalism, experimental fashion editorials and former art director Neville Brody’s postmodern take on typography and graphic design helped to set the tone for a new era of lifestyle magazines, including Blitz, Dazed & Confused and Details. The title was a launchpad for photographers like Juergen Teller, Corinne Day, Nick Knight, David Sims and Inez & Vinoodh, as well as a platform for the Buffalo collective, led by stylist Ray Petri.
But by the time Logan sold The Face to publisher Emap in 1999, it had lost some of its lustre. Bigger titles had emulated its approach and Emap, facing financial challenges, shuttered the title in 2004, when circulation was down to around 25,000 copies a month.
The strength of its legacy makes The Face both promising and challenging to reboot, something that the title’s new managing director Dan Flower — a former Emap publisher who launched Pop magazine with Katie Grand — called “a double-edged sword,” adding that fans could be quick to criticise the relaunch if it’s perceived as being untrue to the original.
Nonetheless, the team behind the relaunch is betting that The Face can carve out an audience by bringing a distinct perspective to a new generation of readers. “While we are going to pay respect to its past, we want to make sure that we are pushing it forward,” said newly installed editor Stuart Brumfitt, the former editorial director of Vice Media’s Amuse, which launched as a luxury lifestyle companion to i-D in 2015, but was reconfigured as a travel site in 2018. “It’s about the tone of voice,” continued Brumfitt, saying that The Face would bring a uniquely “British sense of humour and irreverence” to a global spectrum of popular culture.
In addition to its full-time editorial staff, The Face has recruited a network of part-time contributors. The team includes No Vacancy Inn’s Tremaine Emory and Acyde, as well as designer Grace Wales Bonner, music executive Grace Ladoja, influencer and photographer Margaret Zhang and chef Magnus Reid. But many of the magazine’s contributors will be relatively unknown names. “It would be a lot easier to bring in an ensemble of names that people are really comfortable or familiar with,” said Acyde. “One of the things that we are genuinely passionate about is finding new versions and new models of those people.”
Stuart Brumfitt | Source: Courtesy
“This is not a nostalgia trip,” he added. “We want to be representative of that new way of sharing information and conversations,” he continued, citing Virgil Abloh’s varied interests as an example of the way The Face will unite music, fashion, art and entertainment.
Wasted Talent, the parent company of British music magazine Mixmag and the new owner of The Face, acquired the rights to the title two years ago from Emap corporate parent Bauer Media. Last year, Wasted Talent’s owner, the former Emap executive Jerry Perkins, sought additional investment to fund the relaunch of The Face and secured capital from a group of investors including Wasted Talent’s chairman and former music agent Ian Flooks and London co-head of Creative Artists Agency Emma Banks.
Flower said The Face would tap multiple revenue streams, including print advertising, digital advertising, branded content and agency work for fashion and luxury brands. Gucci is already collaborating with The Face, using its logo on a capsule collection of t-shirts. “We see ourselves as a boutique product but with scale,” added Flower. He also sees an opportunity to help brands navigate today’s culture of online activism. “Young people are more politically motivated than they have been in a really long time … that’s a minefield for a lot of brands,” he said.
But in today’s media landscape, where young consumers are spending more time on social media and less time with magazines and their websites, The Face may be staring at a minefield of its own.
Business of Fashion
That logo is going to mean nothing after these people flog it to death..
Plus...Gucci, Virgil and influencer Margaret Zhang? Ok then!
Giovanni Bianco announced on his IG that he's parting ways with Vogue Italia after two years. June 2019 issue will be his final issue
Great news! It may certainly mean less M&M for starters, but overall I've not been too taken with Vogue Italia's current fashion direction. Wonder who will replace him.
Ugh the amount of ❤️ As well as the little clap emoji comments on that post is ridiculous, I agree I look forward to seeing who takes over and who is going to get all those annoying emoji replies. Is there a thread for that in another section of the forum? I haven’t found it yet.
Now hire Fabien Baron!!!
Vogue Italia and Giovanni Bianco Part Ways
The glossy magazine’s creative director exits the company after two years to focus on his creative agency GB65.
By Sandra Salibian on March 27, 2019
MILAN — Vogue Italia and its creative director Giovanni Bianco have mutually decided to part ways following the June 2019 issue. The name of a successor has not been disclosed.
According to a statement released by Condé Nast Italia on Wednesday, Bianco will focus on the expansion of his creative agency GB65-related projects after having collaborated with the glossy magazine on 24 issues.
“Condé Nast Italia would like to express its thanks to Giovanni and his team for the extraordinary effort and achievements of these past two years and wishes them luck in their new challenges,” reads the statement. “The upcoming final two issues of our collaboration promise to be especially outstanding and an exciting finale of our work together.”
As reported, Bianco was appointed by Vogue Italia’s editor in chief Emanuele Farneti in 2017 to curate the graphic redesign of the magazine and oversee the execution of fashion editorials after the loss of the publication’s former editor in chief Franca Sozzani.
A Brazilian-Italian, Bianco founded his GB65 creative agency in 2001 in New York with the goal to develop unique communications and marketing projects in the luxury, fashion and entertainment businesses. During his career, Bianco served as art director for the advertising campaigns of a range of international labels, including Miu Miu, Versace, Givenchy, Marni, Dsquared2 and Ermenegildo Zegna, among others.
Additionally, he has been collaborating with Madonna since 2004 by designing her album covers and guiding the creative direction of some of her tours.
Also encouraged by this partnership, the singer landed on the cover of Vogue Italia’s August 2018 issue. For the occasion, Madonna was photographed by Mert Alas and Marcus Piggott and interviewed by Xerxes Cook about her life in Lisbon, her children, her passion for music and horses, as well as the projects for her charity Raising Malawi. Flanking the interview, stories and anecdotes on Madonna shared by the likes of Alessandro Michele, Donatella Versace, Riccardo Tisci, Kate Moss, Stella McCartney, her go-to stylist Arianne Phillips, Jean Paul Gaultier and Cristiano Ronaldo were also featured in the issue.
Wouldn’t it be a dream if Fabien Baron returned to VI?