The Business of Magazines | Page 126 | the Fashion Spot

The Business of Magazines

I think I admire the fact that they're doing surveys, for me that's way better than just deciding on a whim what to ditch and what to add. Though I would normally associate this move with a service-like magazine such as Glamour or Marie Claire. It looks to me like this is the last resort. Something the suits would do because they're no longer all that confident about the aesthetic which the EIC is trying to establish. The type of questions they've posed Oxymore certainly indicates the latter imo. VP, more than any of her counterparts, should function as a niche publication specialising in a progressive take on fashion. VI can get away with being a strictly visual mag, US & UK V can toe a more commercial line, but VP needs to be in a class of their own, setting an authorative tone throughout the industry instead of lagging behind. I feel this distinction was always in place and I do see it happening, but instead of moving on to something new, they fixate on the same themes month after month. Those endless austere b&w features, or kitschy 80's edits. And so the smaller titles eventually catch up with them, and even outdo their own aesthetic at times. I think I can see Alt's aesthetic for the magazine, but it's either too faint at times, or not executed strongly enough. My opinion of course is based on that of a foreign non-French reader. I say that because for many the written content of magazines exceeds the fashion value. As dour as British Vogue's fashion stories may get, I could never forgive myself for missing an issue. Tbqh, the features arent even that novel, but at least all of it aligns with the mood of the magazine. Maybe the reason the magazine still sell is because some people love the content.
 
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I'm tired of French Vogue going for the cliche "French" theme, black and white photographs of girls smoking topless, I actually wouldn't mind if they toed a more commercial line. Hell if I were in charge I'd fire the whole team and replace them with the Dior Magazine team.
 
I cannot even remember the shoot in question, it must've been in the late 80's. I'm a huge fan of his work.

Why Sante D’Orazio won’t shoot for Vogue

By Richard Johnson
September 2, 2015 | 4:46pm

Sante D’Orazio shot Christy Turlington, Helena Christensen and Cindy Crawford in the nude — but not for Vogue.

In an interview with Glenn O’Brien for My Town magazine published by Town Residential real estate firm, the photographer said Vogue editors once demanded he turn over all his film after a fashion shoot.

“I was like, ‘I can’t give you all the film; I’ve got to edit.’ . . . They insisted . . . I wouldn’t give it,” D’Orazio said.

“That was my first and last time shooting for American Vogue. If people edited my film, they’d pick the s - - t stuff. If I did 10 shots, and there was one weak one, they would always pick the weak one, guaranteed.”

Source: Pagesix.com
 
^ Love this, what he said is true, in the end Photographers work is really not his own anymore!
 
FMA Winner: Lucy Yeomans, Porter, International Magazine of the Year
By Paige Reddinger | September 12, 2015

With showstopping visuals, incisive stories, and an addictive click-to-buy component, Porter magazine is the shopping and lifestyle guide that modern women have been waiting for. Editor Lucy Yeomans explains its ascent.

One of your strengths as an editor is that you’re so strong in the visuals as well as the words. Which came first for you?
My background was as a writer, but I studied the history of art, and I’m with an artist, so I’m around art every day—even if I don’t want to be. [Laughs] The visuals and the words have to be complimentary, and a really good magazine has to be an interesting combination of the two.

What do you think makes for a successful editor in 2015?
I went to Natalie [Massenet] with the idea of creating this magazine for a global company, and one of the reasons it was super exciting is because it’s led by a visionary leadership team. Things move so quickly here, and to be an editor in 2015, you have to give the woman the content she wants, and where she wants it. You almost have to forget what you think you knew about publishing. We can buy everything from the catwalks now, so my job is about curating a point of view for the audience. And can you add a service element? How can we make this experience better for our reader? When I’m going through our digital edition, I’m looking at shopability—you can click on that cover and buy the dress. On an inside page, you can click through to a website of an author’s work, or book that spa. At Net-A-Porter, we’re always asking, “Where is she now? Where are we reaching her? How do we talk to this woman?”

Some of our favorite luxury brands, who shall remain nameless, do not sell their ready-to-wear online. Do you think they’re completely insane?
No. Everyone chooses how they have a dialogue with their audience. There are certain things I can’t imagine buying online, and there are other things that surprise me. But again, I think they need to think about where their audience is, and how would she like to consume their product. When we launched Porter, there was a big misconception that we were going to be a Net-A-Porter catalog, and actually we’re a very even experience. If you want to buy that Chanel suit or that Hermès bag, we have a concierge service that will deal with you. With brands, the goal is to have a dialogue, which may be online, in stores, or through personal shopping.

Who are your most trusted advisers?
My other half [artist Jason Brooks]. I’m very close to my publisher, Tess Macleod Smith. And I have a few friends who I think are real Porter women, and sometimes I’ll run things by them—I’ll whip out my iPhone in the playground and give them a preview of the cover.

Who are your toughest critics, besides yourself?

The women we make the magazine for. At an event earlier this summer, a model came up to me and said, “I just wanted to say thank you, because I haven’t really read a magazine for 10 years and your magazine made me feel like I could go out and rule the world and made me feel really proud to be a woman.” That comment sends my happiness off the charts. I always love to hear what women think about us.

It’s no secret that this is a difficult time for American magazines. Do you have any advice for us?
People love well-curated content with a strong point of view. And I think the most important thing is just to listen to your audience. We have our own publishing division, but the company believes the customer’s always right, and we give her what she wants. And the service element is really important. For quite a long time, magazines have been, “We’re here, this is what we think, now go out and listen to what we say.” You can pick up some magazines, and the clothes might not be in shops for another two months! We surveyed 7,000 women from around the world and asked what they wanted from a magazine today. They wanted to receive it when the clothes were actually in stores. So we’re not trying to be first. We live in a culture of instant gratification—we see something in Porter, we want it, and we will get it to you. You can click on the Marc Jacobs cover dress, and if you’re in New York, it can be in your house in two hours, before you’ve even finished reading the magazine.

Yes! It makes wardrobe-building rather easy.
And then you can get on and live your life. I’d rather go see Anish Kapoor at Versailles. We’re all so busy, we have so little time to be with our families, we’re all Instagramming and socializing. Before, you’d be on a car journey, or a train journey, or a commute to work, and you’d maybe read a paper or you’d sit and stare out the window, but now, we all have so many pulls on our time, and I just wanted a magazine that kind of cut through it and said, “This is the good stuff.” We’re not going to cover every single trend—I banned the word “trend” from Porter. It’s about how you’re going to put together that wardrobe. Some of it’s really basic 1950s fashion magazine stuff, which is combined with lessons from all the wonderful brains in my company who make me think about things differently.

Such as…
When we’d first begun, we were talking about subscriptions. We were talking with the customer care team from Net-A-Porter about what would happen if a reader suddenly didn’t like the magazine. They said, “Of course if they don’t like it, they can send it back.”

Is there anyone you can’t book for the cover that you would love to have?
Yeah, I probably can’t say that because they’ll probably be upset. [Laughs] The funny thing about the covers is, there are lots of people, and then there are not lots of people, whom I want on the cover. I’m actually glad we only have six a year. We’ve done a lot of model covers, and I’m really, really happy that they’ve performed so well on the newsstands. Because again, I think that there’s lots of ways to tell a story about a woman, and sometimes it’s with an interview with an actress and sometimes it’s a model working with a fashion story. I want people who are willing to do what we want to do. It’s not about putting them in some kind of crazy scenario—it’s more about working with them to do something that feels almost more like a portrait. I remember sitting in the Four Seasons in Milan before Porter had even launched and showing Cate Blanchett this video of who I thought the Porter woman was. It was made up of all these illegal video clips that had been strung together. I said, “This is my Porter woman, and you are absolutely 100 percent her,” and she was like, “I’m in. I’m in!”

Alex White has joined Porter in a more formal capacity. Why did you decide to solidify that relationship?
Alex and I have been talking since before Porter was born. Alex really got the woman that I wanted to represent. Obviously, I’m a big fan of her work, and we really needed to get a team together that worked properly—the photographers, the stylists, our fashion director. It’s a real collaboration, making these projects, and making that relationship a more formal one is very, very exciting for us.

If you were not editing a magazine, what would you be doing?
When I’m a crazy Englishwoman living in the country, I’d love to curate a sculpture park. I have a massive passion for all sculpture, but particularly contemporary.

Where do you shop?
Even pre Net-A-Porter, I was a mad Net-A-Porter shopper. I want the transaction to be done quickly and painlessly. I love the power of clothes, but I actually hate shopping. [Laughs] I’ll definitely get fired for that one!

Is there anything gauche about you?

I really like cheap chocolate. I’m never good at scheduling in manis and pedis. I also like some quite bad crime dramas on television. This is not gauche, really, but everyone thinks I have my hair blow-dried, and I never get my hair blow-dried. I’ve got my hairdresser asking, “And when did you last have your hair cut?” At Net-A-Porter, we have some very, very chic American ladies around, and they’re all so perfectly groomed. Growing up in Scotland, you groomed your horse, you didn’t really groom yourself. And recently, someone was telling me about how they really didn’t want to go to Disneyland or Legoland. I practically had my child in order to be able to go to theme parks.

Are you a roller coaster girl?
I love them. And I’m a big Formula One fanatic as well. I love anything fast.

Source: Fashionweekdaily.com
 
FMA Winner: Stefano Tonchi, W, Best September Issue
By Eddie Roche | September 16, 2015

With model-of-the-moment Gigi Hadid on the cover and a slew of eye-popping fashion stories—Adriana Lima and Joan Smalls in Cuba! There was no doubt that W’s September issue was the year’s best. Here, editor in chief Stefano Tonchi and his team tell us how it all came together.

Why is the September issue the most important?

There are always great expectations around the September issue. They’re usually the fattest issues. In the last three months of the year, you make a lot of your big numbers—as a retailer and as a magazine that benefits from advertising. It’s not only more advertising pages—a thicker issue means more editorial pages. And that makes it more fun to work on a September issue. When you have more pages, you can have a larger vision and tell more stories.

When do you start planning the September issue?
Usually on the way back from the [fall] shows. And after March you start to think about what you will do.

So when did you decide to put Gigi Hadid on the cover?
That was much earlier. Actually that goes back to The Daily’s [Fashion Media] Awards, when I started talking about Gigi.

Yes, she was the host last year.

I really loved her onstage and I was like, Oh, she’s more than a model. She actually has a personality, and she is a great entertainer. We introduced ourselves to each other, and then I saw her at some other events and we started the conversation. For every single cover, especially the September cover, you have to put down your stick very early. With Gigi, we wanted it to be the only cover—her first W cover and one of her first [major] covers.

Was it important to you to have a model on the cover this year?
I think it goes a little beyond the fact of putting a model [on the cover]—it’s putting somebody on the cover who is the conversation at the moment. So I think about Cara [Delevingne], who covered the September issue in 2013]. With Cara, there was a lot of talk about who is Cara: Who is this girl that is too short to walk the runways, too particular, special, eccentric, to be a real model. She actually has too much expression. And it’s the same with Gigi. She doesn’t fit the profile of a model, even if she’s incredibly good-looking and tall. I think we pick all the covers to illustrate a larger concept. With Gigi, the idea was “the post It Girl.” And clearly it’s post It Girl, and it’s the girl who posts a lot. It’s a double entendre.

Are you saying the It Girl is dead?
There are so many It Girls, you don’t even know why they are there, and many are there because they post a lot. They have a very large social media profile. Many of these girls, you don’t know exactly what they’ve done, but you know they have a million followers. And that’s really what defines this new generation. They’re not your typical model, they’re not your typical It Girl—they’re somebody who has an incredibly strong group of connections and who appeals to so many different kinds of people. It’s a social media phenomenon.

Lynn Hirschberg’s story on Gigi is fantastic.
That piece really goes to celebrate my great staff, starting with Lynn, who has been with me for a good 10 years. She has this capacity to understand pop phenomena and to see the changes in society, and she always comes up with great large-picture ideas. She’s an incredibly important part of the W identity. At the same time, I have somebody like Edward [Enninful, the fashion director], who is so great at transforming something that may be a little lowbrow into something that is very sophisticated. He brought in Steven Meisel [to shoot the Gigi cover], and Steven Meisel’s team really transformed Gigi into something she’s usually not.

What’s your conversation like with Steven Meisel when you’re working on this kind of story?
We go to Edward a lot because Edward is really more than a fashion director. He works so closely with all the photographers. Usually we talk about how we see her, what we should do. We all put one word here, one word there, and then Edward puts together all his boards and the clothes, and he talks to the photographer. I like to leave a lot of freedom to the photographer and Edward. When there is a great relationship of trust, the only way you can have surprises is to have positive surprises. I mean, this is Edward’s cover. It’s his cover, Steven’s cover, Gigi’s cover. I kind of made it happen and published it, but sometimes I feel like I’m the facilitator. I think a lot of times editors in chief are the ones who try to connect the dots. I think a good editor in chief should try and create the best condition for his staff and the contributors to create the best work.

The rest of the issue is just as exciting, especially the “Back in the Limelight” story shot by Mert Alas and Marcus Piggott. That looked like an amazing party.
Actually, many people were like, “Why were we not invited to this party?” And I’d say, “It was fake!” I mean it was—but so many people in Los Angeles kept calling me, saying, “I keep seeing this Instagram of Amber [Valletta] in a very irreverent pose”—because there were some pictures where it looked like she was giving blow jobs—“and then Eva Chow in the bathtub. Why was I not at that party?!” It’s fun—and this is very W—when life becomes fiction or when fiction becomes life.

Inez and Vinoodh also shot a gorgeous story for this issue, “Mourning Glory.”
Yes, they actually went to an island off the coast of Holland. We tried to have a lot of different voices, and a lot of photographer’s personalities, and the trends of the season. You have the black Victorian story by Inez and Vinoodh, you have the masculine/feminine/androgynous story, you have a very colorful story that we shot in Cuba. We don’t do it in a very literal, academic way. It’s never like, Okay, this story’s about the white lace, this story’s the flower print. There’s always a little bit of context. So you take a story like the bright dresses, but it’s also a story about Cuba, and Cuba is a great conversation starter right now.

This is your sixth September issue at W. Do you have a favorite?
The first one is really one of my favorites because it was the first cover ever of Jennifer Lawrence, and the first cover of Jessica Chastain. We featured eight girls, and out of these eight girls two were nominated for an Oscar in five years, which I think is pretty good.

How do you feel about W’s place in the media landscape right now?

W is living this magic moment. On one side, it’s in a very good place in print, because it serves a very specific audience and it’s a very beautiful object. Because of its quality it avoids a lot of the problems print has today—and numbers are on our side in that sense. But what is completely new—without investment or even strategy and marketing—is that we saw this explosion of our social media platforms, and it is incredible. We are suddenly really appealing to a completely different generation who probably don’t even know that W exists on paper; they only link it to social media. It’s not difficult to understand why, because social media is all about personalities, it’s all about wanting to be an insider, it’s all about that kind of voyeurism that is at the core, the DNA, of W. So we are somehow in the present, but we are very much in the future too.

How many more September issues do you have in you?
Oh, God. I think the life expectation is 120? So I have a good number to put out. It’s very fun—to have so many pages to fill, to tell stories, to inspire. That’s the beauty of the September issue.

Source: Fashionweekdaily.com
 
FMA Winner: The Hollywood Reporter, Best Fashion Issue of a Non-Fashion Magazine
By Ashley Baker | September 16, 2015

Under the leadership of Janice Min, The Hollywood Reporter has transformed into a high-gloss, heavily reported weekly that is required reading among anyone even remotely interested in the happenings of Tinseltown. The magazine’s annual fashion issue, centered around its Power Stylists list, has emerged as one of its marquee moments, with the 2015 edition featuring an interview with Riccardo Tisci and a cover of Lady Gaga photographed by Karl Lagerfeld. Chief Creative Officer Janice Min and senior style writer Merle Ginsberg explain its ascent.

How does your Power Stylists list come together?
Merle Ginsberg: First of all, it was Janice’s idea—it’s very much in the tradition of The Hollywood Reporter to do power lists, and we do it for writers, directors, actors. So she said, “Why don’t we do a stylists list? They are, essentially, Hollywood fashion.” And my first response was, “We can’t do that! It’s politically incorrect!” But she looked at me in a very Janice way and said, “Why not?” The criteria comes down to a number of things. It all starts with the way actresses dress on the red carpet. We start with a look, and we work backward. Carol [McColgin, THR style editor and cover shoot stylist], Janice, and I sit down and look at many, many pictures, then we call all the agencies to fact-check, because these actresses jump around [among stylists]. Then we just talk and talk and talk, but it really goes down to the look and the power of it. The status of the actress plays a part, too.

Petra Flannery, who topped your list this year, dressed Emma Stone in a Lanvin jumpsuit for the Golden Globes. Was that a personal favorite?

Janice Min: Every editor will have their own individual opinions about whether a look worked or not, but sometimes the tiebreakers come down to the impact it makes in fashion—how it was received. All these women are wearing these dresses to have maximum impact—that’s the competition, and recognition from the fashion press is how you win the game.

Do stylists or actresses campaign to be in this package?
Janice: Completely! There is an extensive campaign that goes on for positioning on this list. The worst thing of all would be to not be on the list. The top choices are usually fairly logical, and then there is definitely jockeying for position.
Merle: Starting the week before, I’ll have a lot of stylists’ agents calling me, saying, “Just tell me the number.”
Janice: The anxiety runs pretty high out here.

Janice, how have you seen the celebrification of stylists evolve over your tenure at The Hollywood Reporter?
Janice: One of the main impetuses for doing this was the Rachel Zoe factor. The stylist names out here are on par with the designer names, because they have the power to transform, and they have access to looks that can turn a regular actress into someone extraordinary. [Stylists] are sort of the Henry Higginses of Hollywood, in that they can completely alter the course of an actress’s career toward the positive. That is as important, if not more important, than anything a studio executive, agent, or manager can do. They’re the power brokers between talent and designers, and they get to decide who wears what, and when. To be a gatekeeper in that regard means everything to the design community.

Do you think men are paying a lot more attention to their looks these days?
Janice: For the first time, we shot a man in this issue—Channing Tatum with his stylist. There have been times in previous years when we’ve tried to book men, and even though they’re close with their stylists, there was a squeamishness, an embarrassment. That is no longer. There’s honesty about, “I do not fall out of bed and onto the Oscars red carpet looking like this.” There is a team of people to make it happen.
Merle: They used to deny it!
Janice: And now it’s part of the conversation.

How did Lady Gaga end up on the cover?
Janice: It was crazy. Like so many things at The Hollywood Reporter, it magically came together at the last minute. Brandon Maxwell, her stylist, was on the list, and one of the ideas was to shoot him with Gaga as a potential cover. They [Brandon’s team] upped the ante—what if it was shot by Karl Lagerfeld in Paris? We said, Okay! And within 24 hours, Carol was on a plane, then sitting there in Coco Chanel’s old apartment, making the shoot happen.

Did you get any feedback about what Karl was like on set as a photographer?
Janice: Sure. He was very professional, very fast. Gaga and Brandon were very deferential to him. He, of course, kept the gloves on, and did exactly what he wanted. That was no surprise. He’s an art director, photographer, and designer all in one.

Merle, you went to Paris to interview Riccardo Tisci for the issue. What was your experience like?
Merle: I had been trying to get that interview for about four years. I had gone to Paris before and met with Youssef Marquis, a lovely guy who is [Tisci’s] head of press, and he loves The Hollywood Reporter, and he also, like many designers in Europe, used the stylists list to figure out how to negotiate with a lot of Hollywood people. So every year, he’d go, “We’re getting closer. We’re getting closer.” And this was the right year for Riccardo, because he’d had so many major red carpet moments—Julianne Moore, Jessica Chastain, the whole Kim and Kanye thing. I’m rarely nervous interviewing anyone, but I was nervous because I didn’t know anything about Riccardo, although I knew all his work. He was very chill, very warm, very pleasant, very low-key, and surprisingly modest. The interview took place in Hubert de Givenchy’s couture studio, where he dressed Audrey Hepburn. I was incredibly overwhelmed by that. Riccardo couldn’t understand why that freaked me out.

Janice, who is your competition, and how do you feel like it’s evolved?
Janice: I feel like we compete with all media, and that’s a good and bad thing—a mostly good thing about the digital universe, and social media in particular. There is no such thing, to me, as a trade anymore, and any good story travels fast and wide. Our hugest stories could be about topics that in a formerly all-print universe would not have had a life. We’re competing for people’s attention in all ways, whether we’re competing with television, film, their iPhone, Facebook, Instagram—people here will probably tell you that one of the things I’m most obsessed over are headlines.
Merle: She’s the queen of headlines!
Janice: Headlines, and every story having a hook or a point that will draw people in. The art of reading or paying attention to something is totally unconscious. The second you have someone saying, “Ugh, I have to read The Hollywood Reporter,” then you’re sort of dead.

Do you miss New York?
Janice: I don’t miss the weather! I’d like to use my legs again at some point and walk to a restaurant. I miss walking, I miss my friends, but I don’t miss seasons at all. When you’re in New York, you take for granted how casual socializing is. You can see people you know everywhere. “Want to get a drink? What are you doing tomorrow night? Want to have breakfast?” L.A. is vast and wide. No one wants to go out after 5:30. The early bird hour is dinnertime in Los Angeles, which is fine—I have three kids now, and that’s sort of how I live my life regardless.

What’s your lifestyle like in L.A.?

Janice: I work all the time. The good and bad thing about my iPhone is that you have freedom and the ultimate handcuffs.
Merle: I get e-mails from Janice at 2 a.m…
Janice: No you don’t! [Laughs] Okay, yes.

Have you taken up any L.A. pastimes, like surfing or hiking Runyon Canyon?
Janice: There are L.A. clichés that have come into my life. I drive a Tesla, I eat kale every single day, we have a Vitamix at home, where ingredients could include chia seeds and sweet potatoes and other superfoods. I definitely work out more than I would have in New York. But other than that, I don’t have a crystal healer.

How have your relationships with talent publicists changed since you moved to The Hollywood Reporter?
Janice: Anyone who books anything knows that nothing’s easy. We don’t cave on anything. Reporting on a celebrity’s breakups at Us Weekly versus reporting on large, impactful business news about movies bombing, executive changes—people here understand the business of numbers, and those stories have been easier to do. The Hollywood Reporter has a certain hometown advantage of feeling like Hollywood’s high school newspaper that looks really good and reads really well. Our digital presence is a huge, constantly news-breaking machine, but there is a lovely old-school publishing moment on Wednesday morning when our print edition is delivered all around Los Angeles. Studio chiefs, Steven Spielberg, television executives—they all stop to see who’s in it, what they should wear, where they should be going…it becomes a nice little one-stop shop for Hollywood.

Do you get more irate phone calls now than when you were at Us Weekly?
Janice: There are always irate phone calls. You can never escape them. That’s the nature of being in media!

What makes for a successful editor in chief in 2015?
Janice: A healthy sense of competition and a willingness to evolve. I also believe that in an age of overwhelming information, there is a rush to premium content that will be very valuable to a brand. When everyone has the same information, the links that mean the most for me are from the brands I’ve always known and loved. A powerful brand association is what helps you rise above the pack. There is audience in that, and obviously advertiser draw.

Are you still interested in celebrities’ personal lives, if on a recreational level?
Janice: I can’t say I was ever interested in that at Us Weekly! [Laughs] That was the funny thing about working there—I never watched The Bachelor or the Kardashians. I felt like I had knowledge and touch for understanding what the stories were that people cared about.

What are some of your goals for THR in the next five years?
Janice: [Laughs] In the next five years, or in the next five minutes?

Source: Fashionweekdaily.com
 
^^^ What a fantastic interview. Porter really does have a strong identity versus a lot of the other major fashion mags right now. It's surprising, really.
 
And the fact that it slightly grew over 2010 (Carine's era) means that some viewers are attracted to Alt's vision for the magazine. And, the fact that the circulation remained the same (on average above 120k) means that they're doing a pretty good job

MissDalloway, This is the average of the British magazines for the first half of 2014. I'll try my best to search for the monthly sales :)


PPA

I was shocked to discover that Red apparently outsells Elle, InStyle, Harper's Bazaar, etc. and sells almost as well as Vogue. I wonder how many copies of Porter are sold annually....
 
Really fascinating to read those interviews with the editors of Porter and The Hollywood Reporter. Both of those magazines are absolutely at the top of their game, producing cutting-edge, interesting content that the public is clearly eager to buy into.
 
FMA Winner: Vanity Fair, Scoop of the Year
By Eddie Roche | September 13, 2015

Vanity Fair features editor Jane Sarkin orchestrated Caitlyn Jenner’s debut on the magazine’s May cover and Jessica Diehl engineered her fashion transformation. Here, they explain how it all happened.

Jane, how did the Caitlyn Jenner story come about?
In November 2014, Graydon [Carter] said to me, “I hear all this stuff about Bruce Jenner.” At this point [his transition] wasn’t in the news a lot, just that he was a cross-dresser. And he said, “Let’s try to get him for a shoot and interview.” My kids would watch the Kardashian show and I thought he was the one interesting person on it. I tried to contact him, but he didn’t have a contact besides the show’s people. [I found his] sports agent and immediately he sent me back an e-mail saying, “Sorry, he can’t do this story. It makes him sound horrible.” And that was the end of it. But I never stopped there. I tried to poke around about ways to get to Bruce Jenner. No one was getting back to me. In early January, an old friend of mine, [Jenner publicist] Alan Nierob, whom I’ve worked with on many covers, called me and said, “I hear you’re interested in doing a story.” I asked, “Is it Bruce Jenner?” and he said, “I can’t believe you just said that.”

That’s amazing.
He was shocked that I knew. He has known Bruce a long time. He said to me, “We would like you to do the first cover of Bruce Jenner as a woman.” He told me Diane Sawyer would have the only interview with him before the surgery, as Bruce Jenner, and we would have the first photos as a woman. We immediately knew Annie Leibovitz would do the shoot, and we were so fortunate to have Buzz Bissinger to write the story. That combination was unbelievable. Buzz had unprecedented access to Bruce and then Caitlyn. We were the first ones to reveal the Caitlyn name. It was all supposed to come out on the cover of Vanity Fair, which was really hard to imagine. How are we going to keep it under wraps? We had to do it very secretly. I’m sure there were a few people who say they knew about it, but no one was talking and no one said a word. We were in lockdown here. We wouldn’t do anything online. Everything was offline.

So no e-mail then?
No e-mail. It was very exciting because it was done in an old-fashioned way. No e-mail. No texting, nothing electronic at all. The photos were kept under lock and key, which is usually where you get a leak. We had security at the printing plant, and we had crazy security at the shoot. It’s funny now that I think about it; the whole shoot at Caitlyn’s home is on the top of a mountain in Malibu. That itself was security. There are a lot of paparazzi around, but they can’t get close enough to her. She stayed in that house. She said she did not reveal herself until we came out with that cover.

How many months was she waiting?
We didn’t do the shoot until May 5, and the cover came out June 1. She did her interview with Diane in February, then she went away and had surgery, and she recuperated in that bunker-like house with the most beautiful views, but it was a prison for her. I think she got used to that. She could stay in there and not go out into the world; she wasn’t ready. And then our cover gave her the ability to go out into the world.

Was the plan always to release it on a Monday?
Graydon said, “The Internet is newsstand. We all know it. Let’s not fight it. Let’s go for it.” He said to release it on June 1. We were ready to go Saturday or Sunday if it leaked. It started to leak, but not really. By noon on Monday, it was out. It was really exciting to do it that way.

Who chose Buzz to write the story?
Graydon picked him. Buzz understood the whole athletic side. This is a very complicated story. The greatest athlete in the world, 1976 gold medalist, and 40 years later, he’s become a woman. And Buzz is also a cross-dresser. He knew about Bruce Jenner, the Athlete, and Bruce Jenner, the Television Personality. He even says he never had a story like that. It’s the most amazing story he has ever done. He was able to spend hours and hours with Caitlyn. I don’t think there was anyone better to work with than Buzz. He had a real sensitivity for the subject. He got along really well with the family. Caitlyn was fantastic with him. She became very open.

How did you prepare for the shoot?
Annie had a vision of how she thought it should be, and she wanted it to be an extremely easygoing time, even though it was a very important subject for her to portray correctly. We worked really hard on the setups of the shot. Jessica Diehl did the clothes, and she had her own vision. We had the greatest hair and makeup team. It was teamwork at its best.

What was the shoot like?
Nowadays you’ll have two hours, but we had two full days. That first morning we all met with Annie in a makeshift production office in Caitlyn’s house, and she gave a pep talk: “This is a very historic moment, this is a very emotional moment, this is a very important day.” And it was really emotional for everybody. And that very first shot, where she walked out of her room in a black gown, was the first time she had seen herself. All the people around her were crying because it was the first time that she actually saw what she wanted to see in the mirror.

How many people were there?
I would say 20 people. Everyone gave up his or her cell phones. No selfies, no Instagram, nothing. Everybody knew going in that this was top-secret, and we all wanted it to have a big reveal. If it had gotten out, it really would have messed up everything.

Who enforced the no-cell-phone idea?
Graydon did. We have a security team that we use for our Oscar party and the Washington Correspondents Dinner, and they’re top-notch. We met with them and said this is how it has to be: Everyone has to give up his or her phone, from Annie down. Except Caitlyn didn’t. She didn’t have social media, anyway.
Caitlyn launched her Twitter account the same day the magazine came out.
It broke every record ever.

How were the sales of the issue?
I would say up 200 percent over any cover we’ve done recently.
In Caitlyn’s documentary series on E!, Graydon mentioned that your managing editor physically brought the issue to the plant.
We decided that the only way to ensure it wouldn’t leak was to send someone to deliver the plates to the plant, instead of sending it by FedEx or carrier. She went with it and watched it being printed. They were under strict instructions at the plant, and we had security guards there. We tried to think of everything.

Who in the office knew about it?
A core group of people knew about it, but we were just trying to protect everyone. We didn’t want anyone to leak it by accident. The less people that knew, the better. You did not want to be that guy or that girl that leaked the story.

Did you have a “fake” cover to avoid suspicion?
Yes, it was Channing Tatum. He was an amazing sport about it because we couldn’t tell him what was going on. He’s the greatest.

Have you ever done anything like this before?
I did the Suri Cruise cover. It was a while ago, but at the time, that was the big story.

How did you keep that story from being leaked?
In 2006, we didn’t have the social media problem. Annie and I went to Colorado with security. We had security at the plant again. I kept the story under lock and key. It was a different time.

Was choosing Caitlyn’s cover image difficult?
No. Any one of those photos probably could have been the cover. But this was the one where she really looked exactly how she wanted to look. We knew at that moment, Oh, my God, there it is.
It was so powerful to not have any other cover lines besides “Call Me Caitlyn.”
I think it was such an iconic image and historic story. We made it feel very important. We caught this whole transgender moment. All of a sudden, there she was.
Have you heard from Caitlyn since?
I went to the ESPYs. She’s thrilled. When she said, “Winning a gold medal was a good day, but these last two days have been the most meaningful.”

Did you cry?
Oh, yeah. I could cry now. I think it worked so well because she was so open about what she had done and how she wanted to be. For me, it wasn’t a very comfortable situation to meet her for the first time. I was really nervous. And she made it feel comfortable: “This is my life, and I’m Caitlyn.” It was an experience that I will never forget.

What do you think the story means?
I think it means that everyone can be comfortable in their own skin. She’s making it easier and helping that process. She’s at the forefront trying to help people. I think that’s a message she’s trying to give. And we tried to help her to help people.

What was your reaction when you first heard about the story?
I immediately just thought it was great. I found it timely and very important. And what I thought was great about it was here’s this man, who’s incredibly successful in one way, a gold medal winner, pretty major in my book. And he comes to Vanity Fair to put this out into the world.

Are you good at keeping secrets?
Yes and no. It’s very difficult for me, especially if something’s positive. So if you’re my friend and you tell me, “Please don’t tell anyone,” I can keep that secret, that’s no problem. But something inspiring and something brilliant? I have to say that was really difficult.

How many months did you have to keep quiet?
March until June, which is a long time. Another editor in chief told me, “I heard you’re doing this.” I had to bald-face lie to him.

What kind of woman were you creating?
When I first met Caitlyn, a month before we shot her, I went to her house to get a sense. I have nothing against the Kardashians. I think they’re fabulous and amazing. They take fashion to the next level. But it was really important for me to figure out that Bruce-slash-Caitlyn is someone who grew up in the ’50s, ’60s, and ’70s. Her thought process around style was much more American. [Vogue’s fashion director] Tonne Goodman would have loved it. She would have been Caitlyn’s style icon. I thought about Lauren Bacall or Lauren Hutton. It ain’t no Doris Day. Caitlyn’s quite fearless.

Who else did you work with on this besides Graydon, Annie Leibovitz, and Jane?
[Fashion market director] Michael Carl knew. I knew he wasn’t going to talk. My assistant, Ryan Young, also knew. The three of us went shopping, and it was hysterical. I’ve never had more fun in my life.

Why?
It’s really bizarre going to Saks, Bergdorf’s, and Barneys and trying to find certain sizes, which are never on the floor. There were three of us who don’t look that size and I was shopping, supposedly, for my “great-aunt” who was receiving an award. We weren’t sure if some looks were going to fit, so Ryan would go in the dressing room and try them on. He was really into it! The most amazing part was that nobody in the department questioned it. Even when I said she has a size 13 foot, wide. They all knew I was lying, but they knew enough to not ask. On the other hand, I thought, “What do you do if this is your life? What do you do if you’re transgender and you want to buy women’s clothing?” Going into department stores is not only daunting for a woman who isn’t a size zero, but there’s no escaping from the eyes of the sales staff. The coolest thing about New York is that nobody batted an eye.

Did you have a code name for Caitlyn?
Barbra Streisand. I thought it was the same generation. I thought she was really tall, maybe because I saw Yentl, and she’s not.

What was the shoot like for you?
I don’t really get super emotional about stuff, except this one. What was really stressful was the idea of building from scratch. Her wardrobe a month before the shoot was minimal, minimal, minimal. It was not my taste or even hers. It was more what was available. How can we have a couple things that make the wardrobe real? Have a bit of Max Mara, Tom Ford, a Balmain blazer. Have a bit of fashion and create a cohesiveness in tune with who this person is.

What did you think of the reaction to the story when it hit the web that Monday?
I was thrilled for her because the most important thing to her was for it to be received in an open way and be part of the dialogue. What was so brilliant was that it was a monthly that broke news in a manner that hadn’t been done in quite some time. Not many publications can do that. Vanity Fair has the trust of people to tell their story and to do that at their own pace.
Have you kept in touch with Caitlyn?
Yes! We were texting in the morning when the issue came out. She couldn’t believe it. She really was sequestered in her house. The reveal of Caitlyn wasn’t meant to be in the hands of the paparazzi but in a controlled and dignified manner. It was her coming-out party!

Source: Fashionweekdaily.com
 
FMA Winner: Robbie Myers, Elle, Magazine of the Year
By Ashley Baker | September 12, 2015

She’s a seasoned editrix with a nose for news. Robbie Myers’ 15 years at the helm of Elle is the stuff that dreams are made of. As the magazine toasts its 30th anniversary, Myers explains how its mission is more relevant than ever.

Of all the subjects that Elle covers, what are your particular passions?
Fashion. We show it, but we’re also very interested in the people who make the culture. When the magazine was launched in Paris in 1945, the founder said that the mission was to open women’s appetites. That’s a great mission, and a pretty broad mandate. We’ve tried to carry it through into 2000, 2010, 2015, and going forward.

What are your favorite kinds of stories to edit?
I love the visual stories. But one of the really good things about Elle is that we use really good writers. With every assignment, we try to put a good writer and a good reporter on a good topic. I hope that we succeed more than we fail. I love assigning and editing Zeitgeist pieces about where women are in the culture, and what’s going on in the culture. We have a real commitment to covering politics, women’s health, and certainly sexual politics. We assume a certain amount of cultural literacy and erudition on the part of our readers, so we don’t feel like we need to explain all the issues, but good writing and good reporting elevates the conversation. I was talking to a very senior person in a very big company, and I asked her, generally, what was going on in the digital world. She was telling me about the technological things they were working on, and then she said, “But, you know, women in San Francisco are really talking about egg freezing and managing their fertility.” I’m like, “Really! We’ve only been covering that for 10 years.” Meaning that women’s media often gets put to the side. We do groundbreaking reporting around things that are important to women, like the science around fertility, because that’s what women are talking about, and what they care about.

Music has been core to you in terms of personal interests, and it’s a major pillar and platform for the magazine as well. How have you seen that evolve over your tenure at Elle?
Elle has always been about where pop culture and fashion intersect. Female musicians are great communicators of style, because it’s organic to most of them—meaning they dress themselves—and their look represents whatever they’re saying with their music. People don’t necessarily separate those things. If you dress X way, you’re saying, “That’s my tribe.” Musicians are real communicators about fashion and style. Musicians are also the voice of young women, and we think they have a lot to say.

You’ve been gutsy with a lot of your recent cover choices. Do you feel a lot of pressure about newsstand performance?
If I put Keira Knightley on our cover, it gets 2 billion press impressions around the world. There’s a lot of interest in our content. The newsstand isn’t considered as important to our fortunes as it once was, but magazine editors still think about it. We like to put women on our cover who are not seen everywhere—and it’s harder and harder to do—who are at an inflection point in their lives.

As the audience for Elle has changed, how have you changed?
I’ve always been drawn to popular culture as a means of a conversation about what’s going on. People at Elle were not into doing Project Runway because it was reality television. My thought was, if people are interested in this, it’s a great way to have a conversation with the culture about what’s going on with the culture around something that we care about.

Does a good editor in 2015 need to have a publishing gene?
Sure. Absolutely. They need to care about how the business is run, and have a strategic take on advertising, marketing, and promotion.

Are you down with native advertising?
My boss, David Carey, has been very respectful of our efforts to make it work in a way that’s good for the business, good for the people who are trying to get their message across in advertising, and good for our audience in terms of being able to be clear in terms of what it is that we’re presenting to then in a quote-unquote native delivery.

How do you interact with Elle.com?
Hearst Digital oversees it, and I talk to them about big initiatives. Leah [Chernikoff] is the editor of the website, and rarely do we disagree about what’s going up. She reports to Kate Lewis, and Troy Young has done an incredible job of getting the audience he wants to get. He’s a very smart, strategic guy. But at the end of the day, if somebody’s unhappy, whether it’s a reader, a user, or an advertiser, I still get the call. There has to be a very open conversation between us about the Elle voice and Elle’s point of view on things. Leah is a strong editor, and she runs the website with great authority.

Are there any topics that are off-limits?
There are lots of stories I’m pitched that I don’t see in Elle, but those are individual stories. Topics are a pretty broad thing—I would hope not. We don’t do a lot on the global financial markets, but if the market is crashing, the website could cover it from an Elle point of view.

Do you ever get tired of fashion—the scene, the shows, the appointments?

Only of bad fashion. I still have the enthusiasm for the feeling of possibility when you enter a show or a showroom. But when you talk to designers, particularly the younger ones who really want to make their mark, it’s exciting to see them work and struggle and figure out their point of view.

I’ve never seen you wear denim. Do you ever wear denim?
Yes, I do!

When do you wear jeans?
Much of the time.

Really?
Yeah.

I looked through Billy Farrell and Patrick McMullan, and I don’t recall seeing many jeans or prints…
Those are black jeans. And I’ve worn a print. Is there a picture of it somewhere? Could I prove it? I could, probably.

What do you wear on the weekend?
Those jeans we’re talking about.

Where do you shop?

Net-A-Porter. I don’t have time to go to boutiques—I wish I did. I do have some time to shop in Paris because my children aren’t there and sometimes there’s a little too much lag time between shows, so I’ll run into Givenchy or Céline to see what they’ve got.

What’s a better age, 30 or 15?

Thirty, although my daughter’s turning 15. If you’re not yet 15, it’s great!

Any good memories from your 30th year?

I remember the birthday party that somebody threw for me at an editor at Rolling Stone’s apartment. It was so much fun. I was wearing a black dress, with big gold earrings, and I have a drink in one hand and a cigarette in the other.

E. Jean Carroll told me that you’ve never asked her for advice. Is that true?
I get a lot of advice from E. Jean. She’s turned in her column every month for so many years. I think a lot of people don’t know what a journalist E. Jean really is. She wrote a lot of great journalism in a lot of great places, and sometimes we have spicy conversations about our worldviews. She’s a humanist and a feminist.

She’s one of my favorite Elle voices. What are some of the other marquee voices in Elle over the years that you are especially proud to have cultivated?
I love the work that Daphne Merkin does for us; Lauren Slater; Karen Durbin, a great film critic; Holly Millea. On staff, Ben Dickinson; Maggie Bullock, a great writer; and Laurie Abraham, who does award-winning work. Anne Slowey, when I can get her to write—she’s pretty busy. Kate Christensen writes for us—I can’t claim that we developed her voice, but I’ve certainly appreciated having her and Chimamanda Ngozi Adichie in the magazine. Erica Jong has written for us, too. Again, they have their own voices, and we’re happy to share them with our readers, but I can’t claim to have developed them. However, we often put writers on topics that they wouldn’t have written about elsewhere. That’s really the fun part.

The magazine has had three different creative directors under your tenure there—Gilles Bensimon, Joe Zee, and now Alex Gonzalez. How has the magazine been different in each of those incarnations?
Gilles launched the magazine, and he certainly was the architect of the idea that you could shoot a strong, sexy girl who looked at the camera with intent, but he also shot all the pictures, so in effect, when Joe started, we kind of had to build. In some ways, it was a restart, because Gilles so dominated the fashion well that we had to build the photographer portfolio, not from zero, but Gilles was that history of what Elle fashion looked like. That was certainly one change. Joe brought in Carter Smith, and he’s very cinematic in the way that he shoots, and we hired Paul Ritter as design director, who brought a kind of “pow” and elegance at the same time. Alex brought and has really nurtured Paola Kudacki, who is doing really great work for us, and Liz Collins. And he lured Evan Campisi, formerly of Nylon who also did award-winning work at Entertainment Weekly, as design director. He’s very cool, with avant-garde sympathies, and we’re working on some things now, which I’ll keep under wraps for a minute longer. They all have different sensibilities, but fashion changes every 10 minutes, right? Fashion is constantly in motion, so you want the pictures and look of the magazine to reflect what’s going on right now. So you have to evolve too, meaning the look and the feel, and what we’re talking about and what that looks like on the page.

Excuse the cliché, but what is on your professional bucket list?
CEO…? I drive David [Carey]—and everybody I’ve ever worked with—crazy, but I have this idea that there’s not a lot of credible fashion, with a capital F, on television. It would be great for there to be Elle TV, because we have a very specific idea about women and what they’re interested in. We do the kind of reporting that doesn’t always get applied in the wider world to “women’s topics,” which are in fact human topics, like reproductive health or the wage gap.

When you need to get away from being the editor of this massive brand, what do you do? Are you a nature lover? A surfer? What don’t we know about you?
I really enjoy the company of my children. I only have them at home for a couple more years, and they’re really fun to hang out with. You probably don’t know that I know a lot about Little League baseball. We went to Cooperstown; my son spent a week there playing tournament baseball.

If a publisher were to come to you and say, “We want to publish the Robbie Myers story,” who would you want to write it?
Robbie Myers.

Source: Fashionweekdaily.com
 
Anna Wintour Speaks About Beyoncé in Vogue's First Podcast
Adele Chapin Sep 14, 2015, 5:39p

The very first Vogue podcast launched today, and it should definitely be considered as a companion to the magazine's September issue. The content consists of EIC Anna Wintour and contributing editor André Leon Talley talking through the issue practically story by story, even referring to page numbers. Of course, it begins with that Beyoncé cover, and podcast host Talley asks why Wintour selected Beyoncé to be the focus of her 27th September issue of Vogue.

"I think Beyoncé is every woman. She’s superwoman, she’s an extraordinary business woman, she’s a force of fashion. She totally understands the way to communicate to millions and millions of fans," she said in the podcast. Then Wintour reflects on her very first Vogue September issue and how much has changed since the beginning of her career:

"For my very first September issue, I put Naomi Campbell on the cover. I don’t know if you remember, she was wearing this orange sequin Anne Klein suit that would probably look incredibly '80s today. But we have this meeting every month where we present the issue to the corporate floor, and I remember all the men in suits being absolutely stunned by the fact that I would put a black woman on the September cover of Vogue. Looking at this issue made me very proud of how far we’ve come and how much the world has changed. That question would just simply not arise today."

Besides discussion about designers like Donna Karan and Riccardo Tisci for Givenchy, Wintour also gets into politics during the podcast, including a possible Hillary Clinton Vogue cover in the future. "One needs experience and Hillary Clinton has that in spades so of course I’m going to support her and of course, she’s going to win."

Talley even gets her to weigh in on Kayne West's 2020 presidential run. "If Mr. Trump can do as well as he’s doing, who knows what may happen? I adore Kanye, I think maybe he was just having fun," she said.

Source: Racked.com
 
There seemed to have been some internal changes in Conde Nast Ukraine thus the delay in the release of the October issue.

Condé Nast International signed a license agreement with the "Media Group Ukraine" in the edition of Vogue magazine in Ukraine
Published Mon, 5 October, 15:00

Vogue in Ukraine will be produced under the license agreement Condé Nast International of "Media Group Ukraine". The first joint number will be in October 2015.

"We are pleased continuation of Vogue in Ukraine with a new partner who shares our values ​​- commitment to exclusivity and quality - says Karina Dobrotvorska, president of the development of new markets and editorial director of Brand Development Condé Nast International. - The Ukrainian market is very important and Vogue since its launch significantly affected the balance of power in the segment of luxury-media. At the "Media Group Ukraine" we look forward to continued success of the brand. "

"To" Media Group Ukraine "is a great honor and responsibility to become a business partner of the world-renowned publishing house Condé Nast and develop Ukraine as a strong brand like Vogue. Ukrainian media market as the economy as a whole is going through very difficult times. But we believe in its future, and our investment - as direct evidence, "- said Alexander Barinov, Chairman of the Board" Media Group Ukraine ".

Vogue magazine in Ukraine was launched in June 2012 and became one of the 21 international editions of "fashion bible". Vogue also published in the United States, Britain, France, Italy, Germany, Spain, Russia, Japan, China, Taiwan, Mexico and Latin America, Korea, Brazil, Greece, Australia, Portugal, India, Turkey, the Netherlands and Thailand.

Source (in Ukrainian): Media Group Ukraine
 
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Get PR today when you stop publishing them, get more PR tomorrow when you probably go back to publishing them... (bbc.co.uk):

Playboy 'to drop' naked women images

Playboy magazine is to stop publishing images of naked women as part of its redesign, it has emerged.

Its US owners say the internet has made nudity outdated, and p*rn*gr*ph*c magazines are no longer so commercially viable, the New York Times reports.

Playboy's circulation has dropped from 5.6 million in the 1970s to the current 800,000, official figures show. However, the magazine will still feature women in provocative poses - though not fully nude.

'Battle won'

The decision was apparently taken last month at a meeting attended by Playboy founder and current editor-in-chief Hugh Hefner. Magazine executives admitted that Playboy - which was founded in 1953 - had been overtaken by the changes it pioneered, according to the New York Times.

"That battle has been fought and won," Playboy chief executive Scott Flanders is quoted as saying by the newspaper. "You're now one click away from every sex act imaginable for free. And so it's just passe at this juncture."

Gone, too, are the days when interviews with figures of the stature of Martin Luther King Jr, Malcolm X and Jimmy Carter made Playboy so culturally and politically significant, says the BBC's Nick Bryant in New York. Playboy's website has already banished nudity, partly to give it access to social media platforms like Facebook and Twitter. And its popularity has soared, with web traffic quadrupling.

A brand long synonymous with salaciousness is cleaning up its act, and all with the blessing - apparently - of the 89-year-old Mr Hefner, our correspondent adds.
 
And some more (nytimes.com):

Playboy to Drop Nudity as Internet Fills Demand

By Ravi Somaiya OCT. 12, 2015 Ravi Somaiya

Last month, Cory Jones, a top editor at Playboy, went to see its founder Hugh Hefner at the Playboy Mansion.

In a wood-paneled dining room, with Picasso and de Kooning prints on the walls, Mr. Jones nervously presented a radical suggestion: the magazine, a leader of the revolution that helped take sex in America from furtive to ubiquitous, should stop publishing images of naked women.

Mr. Hefner, now 89, but still listed as editor in chief, agreed. As part of a redesign that will be unveiled next March, the print edition of Playboy will still feature women in provocative poses. But they will no longer be fully nude.

Its executives admit that Playboy has been overtaken by the changes it pioneered. “That battle has been fought and won,” said Scott Flanders, the company’s chief executive. “You’re now one click away from every sex act imaginable for free. And so it’s just passé at this juncture.”

For a generation of American men, reading Playboy was a cultural rite, an illicit thrill consumed by flashlight. Now every teenage boy has an Internet-connected phone instead. p*rn*gr*ph*c magazines, even those as storied as Playboy, have lost their shock value, their commercial value and their cultural relevance.

Playboy’s circulation has dropped from 5.6 million in 1975 to about 800,000 now, according to the Alliance for Audited Media. Many of the magazines that followed it have disappeared. Though detailed figures are not kept for adult magazines, many of those that remain exist in severely diminished form, available mostly in specialist stores. Penthouse, perhaps the most famous Playboy competitor, responded to the threat from digital p*rn*gr*phy by turning even more explicit. It never recovered.

Previous efforts to revamp Playboy, as recently as three years ago, have never quite stuck. And those who have accused it of exploiting women are unlikely to be assuaged by a modest cover-up. But, according to its own research, Playboy’s logo is one of the most recognizable in the world, along with those of Apple and Nike. This time, as the magazine seeks to compete with younger outlets like Vice, Mr. Flanders said, it sought to answer a key question: “if you take nudity out, what’s left?”

It is difficult, in a media market that has been so fragmented by the web, to imagine the scope of Playboy’s influence at its peak. A judge once ruled that denying blind people a Braille version of it violated their First Amendment rights. It published stories by Margaret Atwood and Haruki Murakami among others, and its interviews have included Malcolm X, Vladimir Nabokov, Martin Luther King Jr. and Jimmy Carter, who admitted that he had lusted in his heart for women other than his wife. Madonna, Sharon Stone and Naomi Campbell posed for the magazine at the peak of their fame. Its best-selling issue, in November of 1972, sold more than seven million copies.

http://www.nytimes.com/interactive/2015/10/13/business/playboylisty.htmlhttp://www.nytimes.com/interactive/2015/10/13/business/playboylisty.html Even those who disliked it cared enough to pay attention — Gloria Steinem, the pioneering feminist, went undercover as a waitress, or Playboy Bunny, in one of Mr. Hefner’s spinoff clubs to write an exposé for Show Magazine in 1963.

When Mr. Hefner created the magazine, which featured Marilyn Monroe on its debut cover in 1953, he did so to please himself. “If you’re a man between the ages of 18 and 80, Playboy is meant for you,” he said in his first editor’s letter. “We enjoy mixing up cocktails and an hors d’oeuvre or two, putting a little mood music on the phonograph, and inviting in a female acquaintance for a quiet discussion on Picasso, Nietzsche, jazz, sex ...” He did not put a date on the cover of the first issue, in case Playboy did not make it to a second.

Mr. Hefner “just revolutionized the whole direction of how we live, of our lifestyles and the kind of sex you might have in America,” said Dian Hanson, author of a six-volume history of men’s magazines and an editor for Taschen. “But taking the nudity out of Playboy is going to leave what?”

The latest redesign, 62 years later, is more pragmatic. The magazine had already made some content safe for work, Mr. Flanders said, in order to be allowed on social media platforms like Facebook, Instagram and Twitter, vital sources of web traffic.

In August of last year, its website dispensed with nudity. As a result, Playboy executives said, the average age of its reader dropped from 47 to just over 30, and its web traffic jumped to about 16 million from about four million unique users per month.

The magazine will adopt a cleaner, more modern style, said Mr. Jones, who as chief content officer also oversees its website. There will still be a Playmate of the Month, but the pictures will be “PG-13” and less produced — more like the racier sections of Instagram. “A little more accessible, a little more intimate,” he said. It is not yet decided whether there will still be a centerfold.

Cory Jones, chief content officer of Playboy, presented Mr. Hefner with the idea of eliminating nudity from the magazine last month.

Its sex columnist, Mr. Jones said, will be a “sex-positive female,” writing enthusiastically about sex. And Playboy will continue its tradition of investigative journalism, in-depth interviews and fiction. The target audience, Mr. Flanders said, is young men who live in cities. “The difference between us and Vice,” he said, “is that we’re going after the guy with a job.”

Some of the moves, like expanded coverage of liquor, are partly commercial, Mr. Flanders admitted; the magazine must please its core advertisers. And all the changes have been tested in focus groups with an eye toward attracting millennials — people between the ages of 18 and 30-something, highly coveted by publishers. The magazine will feature visual artists, with their work dotted through the pages, in part because research revealed that younger people are drawn to art.

The company now makes most of its money from licensing its ubiquitous brand and logo across the world — 40 percent of that business is in China even though the magazine is not available there — for bath products, fragrances, clothing, liquor and jewelry among other merchandise. Nudity in the magazine risks complaints from shoppers, and diminished distribution.

Playboy, which had gone public in 1971, was taken private again in 2011 by Mr. Hefner with Rizvi Traverse Management, an investment firm founded by Suhail Rizvi, a publicity-shy Silicon Valley investor, who has interests in Twitter, Square and Snapchat among others. The firm now owns over 60 percent. Mr. Hefner owns about 30 percent (some shares are held by Playboy management).

The magazine is profitable if money from licensed editions around the world is taken into account, Mr. Flanders said, but the United States edition loses about $3 million a year. He sees it, he said, as a marketing expense. “It is our Fifth Avenue storefront,” he said.

He and Mr. Jones feel that the magazine remains relevant, not least because the world has gradually adopted Mr. Hefner’s libertarian views on a variety of social issues. Asked whether Mr. Hefner’s views on women were the exception to that rule, Mr. Flanders responded that Mr. Hefner had “always celebrated the beauty of the female figure.”

“Don’t get me wrong,” Mr. Jones said of the decision to dispense with nudity, “12-year-old me is very disappointed in current me. But it’s the right thing to do.”
 
Aww, first lads mags now Playboy. Another small triumph for Romola Garai, lol. No wonder Cosmo is toning everything down. Political correctness will be the death of pop culture. But then again, maybe it's the fashion indies which drove Playboy to this. I mean, when Miley is flashing her t*ts for Interview, or Kim her bum for Paper, who needs Playboy? Oh and neither of these two examples is 'art'. It's just glorified softcore p*rn.
 
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I don't think Playboy's change is about political correctness :rolleye: which is a total dog whistle by the way... The internet is saturated with nudity and Playboy looks silly by continuing to run nudes as if they're the only one with them.

This is interesting news and I think Playboy is one to keep an eye on - it sounds like they want to be more like Rolling Stone, with great, in-depth articles and iconic, memorable cover shoots featuring celebrities. I think we will see a lot more actual celebrities (like Rihanna) on Playboy, shot by top fashion and portrait photographers. Looking at some of their 2015 covers, they have already classed things up a bit. Will they put men on the cover? Actors and film directors and politicians, a la Vanity Fair?
 

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