The Business of Magazines

[tigerrouge]

I'd definitely be interested in seeing what this edition looks like. To me, Polish women's/fashion magazines have their own merits, but they don't appear to be very high-end.

 

[Benn98]

They're in dire need of a new direction, so I'm absolutely on board with this move! That said, I'm somewhat shocked that a big edition like American Elle never had a Fashion Director??? That would mean fashion editors used to just do their features with very little regard for the flow of the magazine? No wonder we'd sometimes see three studio shoots, or three shadowy David Bellemere edits.

I seems that a fashion editor under an intellectual or features driven EIC like Robbie or Alexandra are in a sense privileged with a lot of creative liberty....

Elle Magazine Poaches Véronique Hyland From The Cut
Hyland returns to Elle as director of fashion features.

By Alexandra Steigrad on June 20, 2017

It’s a homecoming of sorts for Véronique Hyland.

Hyland, the former fashion news editor of New York Magazine’s The Cut, is returning to Hearst as Elle’s director of fashion features. She starts what Elle is calling a newly created role today, and will be responsible for the work of the fashion features team for its coverage, which includes fashion news, designer profiles and fashion features.

Hyland’s move to Elle comes when the magazine is looking to reinvigorate its fashion and accessories coverage. In January, longtime fashion editor Anne Slowey exited the glossy after 18 years. And, recently, accessories director Maria Dueñas Jacobs and accessories editor Christina Holevas both left the magazine for new gigs.

An Elle spokeswoman said the two accessories jobs would be replaced, but no word on Slowey’s job. A rep from New York Magazine said The Cut would fill Hyland’s role.

At Hearst, Hyland will report to Elle editor in chief Robbie Myers, who offered: “Véronique is an immensely talented writer and editor, and we are excited to welcome her back to Elle. She understands the brand and our specific point of view on fashion and style, and the ways in which fashion intersects with the broader culture.â€

At The Cut, Hyland wrote and reported fashion news, reviews and features. She also assigned and edited packages and contributed the magazine as well. Prior to that, she worked at Hearst Magazines from 2010 to 2014, first as associate features editor at Harper’s Bazaar, and then as fashion news editor at Elle, where she was responsible for coordinating fashion news, writing monthly features, producing shoots and contributing celebrity profiles.

Hyland began her career at WWD working as an editorial assistant from 2006 to 2008. She was promoted to associate fashion editor for WWD’s web site. She remained in that role until 2010 when she decamped for Hearst Magazines.

Source: http://wwd.com/business-news/media/elle-magazine-poaches-veronique-hyland-from-the-cut-new-york-10922520/

 

[Benn98]

Such a sad end for Dovima!

Editor-in-chief talks Harper's Bazaar at 150 — and asking Rihanna to swim with sharks

Glenda Bailey talks about her new book "Harper's Bazaar: 150 Years: The Greatest Moments," fashion trends, and working with Melania and Rhianna.

Glenda Bailey, editor-in-chief of Harper's Bazaar, has just released her beautiful new book, "Harper's Bazaar: 150 Years: The Greatest Moments" (Abrams). We talked to her recently about the book, fashion trends and working with Melania and Rihanna. The following is an edited transcript.

Q: Harper's Bazaar started in 1867 as America's first fashion magazine. Was it hard to narrow down the greatest moments?

A: It was almost impossible. It was rather like a treasure hunt because there's so much to choose from. I could do Volumes 2, 3, 4, 5 just because of the amount of exquisite work that is there. I picked 150 of our key moments as a point of entry, and I hope it worked.

Q: What are your greatest moments from the 16 years you have been at the magazine?

A: Well, I'm particularly proud of the covers.

One that I love is with Rihanna. She's been very, very understanding of our demands at Bazaar. In fact, I said to her, "Would you consider swimming with sharks." I got the idea because I read in an interview that she can swim really well. and of course she realized that would make a great story, so she agreed.

So you see on the video, her swimming away with three 11-foot sharks following her and see that the cameraman literally grazes one of the sharks, and they start to circle her, and you see her being pulled out. I mean it's really daring what people agree to do for Harper's Bazaar.

On her next cover, I thought, "Well, now she's been swimming with sharks, maybe she would consider standing on the top of a glider, playing," which she of course did, and she looked stunning in a Dior gown.

That was our March cover.

We always try to produce iconic imagery, and that's why Harper's Bazaar has its heritage and it's history of great photography.

Q: Can you pick an all-time favorite spread?

A: I'd have to say Avedon, Dovima and the elephants. It's stunning. I think that Avedon, of course, is one of the all-time greats.

Q: In putting the book together, were there any surprises?

A: Previously, I discovered that Dovima actually ended her life working at a Domino's Pizza before she passed away, and she had a very sad life. When you look at how glamorous she was on the pages of Harper's Bazaar, it's very sad to see what happened. It just goes to show how fleeting glamour and beauty can be.

Q: The breadth of creativity that has been published in Bazaar over the years is staggering. What inspires you in your work today?

A: Well, everything.

I've just been to see the Murakami exhibit in Chicago, and of course that gave me new ideas.

Everywhere I look, every conversation I have, tends to lead to some good idea. You know what it's like: Fashion reflects what's going on in our society.

Q: What was your most ambitious project to date?

A: We were the first people to be granted an interview by Melania. We said to her, if she wanted to be in Bazaar, then we would like her to be photographed with an 11-foot inflatable elephant in her living room, which she agreed to do. Then the image went everywhere.

We always try to bring warmth and humor and always try to be memorable.

Q: How do your high-concept covers come about?

A: They come in all different ways.

One of my all-time-favorite covers that I produced was of Demi Moore. It came about as I sat at the fashion shows. I was watching the McQueen collection — it was so beautiful, it was the big armadillo shoes and the wonderful print dresses.

I thought this is so surreal, I'd love to photograph those clothes in a sort of Dali-esque background. I asked Demi if she would agree to be shot on top of a spiral staircase, which we erected on the sand. It was very precarious in those shoes, as you can imagine. Of course I thought, "That's not enough," so I asked if we could have a giraffe standing by the staircase, and Demi was feeding it. The only time she complained was that she said that the giraffe had bad breath.

It turned out to be one of the most poignant tributes to Lee McQueen's work because sadly he passed away just shortly before the cover came out.

Q: What's your editorial vision for the magazine.

A: I said when I came to Bazaar, I wanted to create a party that everyone was invited to. I think Bazaar should be a vehicle for making the most of your looks.

Q: Harper's Bazaar has a long history of collaborating with artists. Where does that commitment to art come from?

A: I think its because it's a love of creativity.

I always remember that Alexey Brodovitch — the the great typographer and the art director with editor Carmel Snow — would always say to the team, "Astonish me."

That's something that we all say today. Have we been astonished by that? Is that a surprise? Is it going to delight our readers?

Q: Which of the Harper's Bazaar collaborators from the past would you most liked to have worked with?

A: I wouldn't have minded commissioning Charles Dickens. Of course I wouldn't have minded commissioning Truman Capote. I would have absolutely loved to commission Avedon.

I was very fortunate that I met him on the first day that I became editor-in-chief of Bazaar. I went to see him at his studio. I had been to see him do a lecture back in Britain. He was talking about the fact that photography is not real, that photography is a moment in time. It's captured a story, but it might not necessarily be the truth.

He gave a few examples — one was the Duke and Duchess of Windsor. That very famous image that looked like he had finally managed to crack their royal facade, and they were looking tearfully into the lens.

He realized that they weren't going to respond to him in any way. The only time that they showed any emotion is when they were playing with their dogs, and so he said to them, "I'm so sorry, on the way to the studio today, I was mortified because the taxi ran over a dog." Click.

And that was the story that created that look. Proving that what we see in photography is not real.

Q: Choosing what to put on your body can be stressful. What basic advice would you give women in thinking about their wardrobe and getting dressed each day?

A: Making the most of your own looks. Not being a slave to any trend. It's all about knowing what looks good on you and enjoying it. Fashion should be fun. I've always been a great believer in being in praise of the individual.

Q: What's the best way to update your look?

A: It depends on the season. This summer, get a graphic T-shirt. It doesn't matter how much it costs. Instantly, it looks very cool right now and isn't related to how much money you've got to spend.

It's about a slogan that feels relevant to you. I love that Maria Grazia at Dior had all of these fantastically strong "We should all be a feminists" slogans, which seems so relevant right now.

Q: Where is fashion right now, and where do you see it going?

A: If you think of the way that we are living our lives, that has changed. By 2020, 40 percent of the working population will be freelance, so think about how that will change the working wardrobe. It's no longer about the power suit. It will be about how to make yourself look like a boss when perhaps you're staying at home to work.

Thinking about how women live their lives, and to reflect that in the designs that designers are producing is essential.

Q: What effect do you think the current political climate has on fashion?

A: A very strong effect. I feel that, as people become vulnerable, they feel a need to show their concern for what's going on in the world. Like the slogan T-shirts, for example.

Historically, in troubled times, metallics have always been on the runway. From Sept 11, 2001, after that terrible tragedy, till now, there have been metallics on the runway every single season. The reason for that is, with metallics, it's almost like a modern-day armor.

Sustainability is such an important issue, and what's going on with our climate. It's so important having brands that really care about what's going on in the environment.

Summer trend that you will be wearing the most: Dresses. I love dresses — so easy to get ready. It's a one-stop shop. I particularly like the sweet florals for summer.

Summer getaway: I've been lucky enough to come to Chicago twice in a week. I love Chicago, so I'd be very happy to come again.

I always travel with: Stephen Sumner, my beloved.

Summer lip color: Deep Red by Saint Laurent.

Reading: I love William Boyd's books.

Listening to: David Bowie. I can't get enough.

Thoughts on the men's romper trend for summer: If you've got the legs and it's right for you, go for it. I like to see people dressing individually and to their taste, but it might not necessarily be mine.

Guilty pleasure: No pleasure should be guilty.

Source: http://www.chicagotribune.com/lifestyles/style/sc-fashion-0703-glenda-bailey-qa-harpers-bazaar-20170621-story.html

 

[Benn98]

Fashion Fail: Why Vogue Arabia Without Princess Deena Is a Losing Proposition

06/02/2017 06:21 am ET | Updated Jun 02, 2017
E. Nina Rothe, Contributor Cultural Activist

Can you spot the similarities between the two photos above? The veil draped over half of the model’s face and the same issue title spelled out at the bottom right corner are obvious answers.

The photo on the left is of Gigi Hadid on the cover of the premiere issue of Vogue Arabia which first appeared on newsstands in March 2017. The one on the right was thought up a good seven years earlier, by a fashion blogger named ‘The Polyglot’. He created his site in 2007, “in response to Condé Nast’s decision to not publish a Middle East edition of Vogue†and came up with this mock-up in 2010.

In fact, in mid-2016 publishing house Condé Nast announced the publication of a Vogue Arabia, headed by the ultra glam Saudi Princess Deena Aljuhani Abdulaziz as Editor in Chief and hosted by Gulf publisher Nervora. And while The Polyglot’s efforts seemed forgotten, as most before-their-time initiatives often are, they were never truly gone. This is, after all, the internet where nothing ever goes away...

But the fashion faux-pas doesn’t end at plagiarizing covers. Oh no. These days, instead of the groundbreaking, strong, elegant and beautiful Princess Deena at the helm of Vogue Arabia, Conde Nast has named Manuel Arnaut to tell Arab women how to dress, think and do. After just two issues published with the Princess’ grandiose vision, a fashion journalist-turned-editor at GQ Portugal, with little to no experience in women’s fashion, let alone the Middle East, now heads Vogue Arabia, and he is the second man to be named at the helm of an international edition of Vogue in less than a month.

Those who read my writing regularly, know how I hate to be negative about anything. It’s the reason I cringe when I get called a film “criticâ€. If I don’t like something, mums the word — a much more powerful commentary in my opinion. But to paraphrase the famous ‘Dirty Dancing’ line about pushing Baby into a corner, “nobody pushes Nina into a cornerâ€. And because the same people who planned the mutiny of Princess Deena at Vogue Arabia dared to cross my path and mess with my writing, my reputation and even attempted to screw with my self esteem, here I am pointing out the multiple fails at a woman’s publication that bears an exceptional trade name. Vogue is after all the symbol of fashion and cultural excellence I grew up devouring throughout my life, the writing that inspired me, and the style bible that still today, I pick up as reading material for any flight, in any doctor’s waiting room and honestly, any chance I get.

And yet, this same icon of grandness, the trademark associated with the likes of Anna Wintour and Diana Vreeland — the latter is probably turning in her grave at this further slight to women fashionistas everywhere — in the Middle East, in just over a couple of months has managed to become the symbol of mediocrity, and catty behavior.

As an admirer of the Gulf states and their vision — not to mention the potential for creating there a true fashion tribe of consumers who crave and can actually afford the latest trends — I’m convinced this is all part of a master plan. Chuck it to the unbearable western need to feel superior to a part of the world that holds the key to our tomorrow — in terms of architecture, how culture will be viewed and watched and how fashion will be bought and sold. If you disagree, it’s because you haven’t traveled to Dubai, Doha, or even Riyadh.

My own ordeal began in February of this year, when I asked a friend to connect me with Princess Deena, so I could write for Vogue Arabia. I’d noticed that their online version, which took over the Style.com/Arabia site (already a disaster in terms of technical mishaps and content) was lacking good quality, cultural features. In fact, one of their beauty writers was creating blogs about films and they didn’t hold up.

As soon as Princess Deena received the intro email, she connected me with all the editors at Vogue Arabia, and I began, at their prompt, to pitch ideas for the April issue around the theme of “powerful womenâ€. Among the pieces I thought up, which included some on art, fashion and culture, I detailed a series of portraits on women filmmakers in the Region. After a long delay, their features editor emailed me to commission the piece, 1,200 words total on six women filmmakers across different disciplines — and then immediately began to argue with me about each woman’s relevance. I’d included names like Haifaa Al Mansour, the Saudi filmmaker of ‘Wadjda’, Palestinian director and writer Annemarie Jacir, Lebanese director and star Nadine Labaki, as well as Palestinian writer/director/producer Cherien Dabis, a creative force behind two current hit TV shows in the US.

“How is Haifaa relevant now? She hasn’t done anything since ‘Wadiya’!†She brayed across the phone, repeatedly pronouncing the title as “Wadiya,†(it’s ‘Wadjda’!) as in the country where ‘The Dictator’ comes from in Sacha Baron Cohen’s hilariously politically incorrect film about the Middle East. Ditto with all the other women, same argument, followed by total ignorance.

Once their photo editor came into play, he got onboard adding his job, which he simply couldn’t be bothered with performing, onto my already full slate by asking me to get a selection of “Vouge-worthy portraitsâ€. Spelled just like that. Somebody please tell this man which publication he’s working for...

In the end, after several attempts to create a fascinatingly readable set of Arab women’s portraits, I gave up, emailing Princess Deena that I was taking myself out of the Vogue Arabia equation. Within two weeks, she was fired by Conde Nast and nearly a month after that, I got a hold of the portraits, published in their May issue.

Obviously they were looking for something different. Mediocre, “Vouge-worthy†and oh, so boring.

Source: http://www.huffingtonpost.com/entry/fashion-fail-why-vogue-arabia-without-princess-deena_us_5911bc25e4b056aa2363d8da

 

[Miss Dalloway]

^ Now that is a great article,a nd perfectly paints the picture of Conde Nast, and how clueless they truly are.

Such a sad end for Dovima!

Very, very sad! Vanity Fair had a great, long articel about her in one oft heir Sept issues from few years back, and I remember thinking how horrible she ended up like that. But her images are immortal.

Reading this Glenda interview, i swear she sounds great, but i kept wondering if her idea of the magazine is something totally different than what we see each month! It certainly sounds like a more interesting magazines when she talks about it. Then reality, well......

 

[Benn98]

^ Now that is a great article,a nd perfectly paints the picture of Conde Nast, and how clueless they truly are.

Very, very sad! Vanity Fair had a great, long articel about her in one oft heir Sept issues from few years back, and I remember thinking how horrible she ended up like that. But her images are immortal.

Reading this Glenda interview, i swear she sounds great, but i kept wondering if her idea of the magazine is something totally different than what we see each month! It certainly sounds like a more interesting magazines when she talks about it. Then reality, well......

I thought it very odd that Vogue Arabia couldn't get a photographer to shoot those filmmakers! Especially once they decided that the piece would go into the print edition.

Re Dovima, I'll hunt that edition down! These old guard models are very often surrounded by such appalling tragedy. Carmen Dell'orefice lost her entire life savings twice over the past 20 years, the last time with Bernie Madoff's Ponzi scheme.

 

[Deleted member 45369]

Whatever grievances she may have against Condé Nast are null and void by the pettiness of the article. I couldn't get past the whining and name calling.

 

[8eight]

UK Esquire's new issue is JULY/AUGUST.
Dont they combine JAN/FEB too?

so, 10 issues a year now? worrying.

 

[mistress_f]

Lucinda Chambers on being fired by Edward Enninful and more : http://vestoj.com/will-i-get-a-ticket/

 

[magsaddict]

She's so gloriously unfiltered, she was my favourite part of last year's BBC TWO series on Vogue. I respect her for acknowledging the magazine and her works' shortcomings while still standing proudly by all she has achieved, it's very refreshing. I was especially surprised by how candid she was about the Alexa Chung cover.

 

[dodencebt]

Luncida's interview is gold.

 

[Benn98]

Good God! I just assumed it was voluntarily!
How could such a big company fire someone like Lucinda in such a way??? Don't get me wrong, I understand why it had to happen, but the way they went about it is absolutely disgusting! The chairman didn't know, Alexandra didn't know?? Is this some sort of Mickey Mouse business?

This reflects very poorly on Edward, sorry. Hope she'll nail them to wall!

 

[MON]

Honestly, I'd take Lucinda over Venetia. And choosing her was already very telling of Edward. TBH, I refuse to believe that the higher ups didn't know. It's unlikely that the EIC, an upcoming one all the more, wields more power than executives. Maybe they knew but they didn't want to add to the injury considering they might've become friends during the 25 years of her tenure.

If I were him, I would've kept Lucinda around for a few more years to help with the transition. Edward may be British, but it's undeniable that he got used to catering to the American audience.

I also admire her courage. No PR spin whatsoever. She called it as it were. Some would've said "they decided to leave".

 

[Benn98]

She's saying she was fired by Edward, but who delivered the actual news? Not Edward, surely? That would be so tasteless!

 

[tigerrouge]

She could write for a living, and I'd be there for every word. Or at least, continue to give interviews and get written up like that.

 

[MON]

She's saying she was fired by Edward, but who delivered the actual news? Not Edward, surely? That would be so tasteless!

I think it's more insulting if it weren't done by Edward himself. It's like impliedly saying that he has no time for her. Lol.

 

[GivenchyAddict]

Honestly, i read this interview and my mouth was opened from the beginning to the end. I am quite shocked by the lack of humanity and respect from "the new editor" of British Vogue.

And don't be naive, the executives knew about it. Edward had clearly given his will for his upcoming tenure to them and they simply said yes but did not want to be a part of it. This industry is really about being fake most of the time.

Even if i am not a fan of Lucinda, i have a huge sympathy for her because of her honesty and no fear of telling what's happened. She has been fired. Period. Like Carine was ( but this one prefers to deny it ).

Conde nast story apart, i was really interested about her opinion regarding Marni because yes Marni is lost. Marni is a total disaster. My heart is broken all the time i am in showroom and seing the collection because Marni was one of the most interesting brands that Italy offered us.

I do hope for her that she will enjoy her freedom, she deserves it and that she will be able to do what she always wanted to do because when you work for Vogue, you are everything but not free.

 

[8eight]

ha! its been removed.

 

[Miss Dalloway]

Good God! I just assumed it was voluntarily!
How could such a big company fire someone like Lucinda in such a way??? Don't get me wrong, I understand why it had to happen, but the way they went about it is absolutely disgusting! The chairman didn't know, Alexandra didn't know?? Is this some sort of Mickey Mouse business?

This reflects very poorly on Edward, sorry. Hope she'll nail them to wall!

Where have you been your whole life? Hello!! CN has the worst record when it comes to firing their, EVEN, Iconic editors! This is not surprising, at all! Once EIC is gone, many follow, its disgusting that someone like Shulman just assumed her resigning would have no influence on the future of some of her team!!

They fired Vreeland in brutal fashion overnight, and replaced her office. Same for Grace Mirabella who found out by third party she was fired, lol! It's just how it is, I actually have much more respect for Edward now!

Shame they took the interview down!

If I were him, I would've kept Lucinda around for a few more years to help with the transition. Edward may be British, but it's undeniable that he got used to catering to the American audience.

Huh? Keeping Lucinda for few more years? To help with transition? I'm sorry but that is just shocking to read, let's not even pretend that Edward doesn't have the right to bring his own people to such a huge job, if he has any chance of taming a beast like UK Vogue, and making it it's own!! It makes PERFECT sense for him to fire Chambers if she didn't hand in her notice when Alex resigned.

Lucinda will be fine, either get another job, or go freelance and double her pay!

 

[MON]

let's not even pretend that Edward doesn't have the right to bring his own people to such a huge job, if he has any chance of taming a beast like UK Vogue, and making it it's own!! It makes PERFECT sense for him to fire Chambers if she didn't hand in her notice when Alex resigned.

Lucinda will be fine, either get another job, or go freelance and double her pay!

Well whoever said that Edward didn't have the right to bring his own team? That right is acknowledged and respected. All I said was that if I were him (meaning me calling the shots), I would've personally kept Lucinda. And yes, CN kept Alex and her for 25 yrs despite the lackluster content because what they did apparently, for some odd reason, worked. And when you look at Edward's work and that of U.K. Vogue's through the years, there is a stark contrast. All I'm saying is that having someone who had been doing it for quite sometime now can and will always will add some insight to what they can do from here on out. He may opt not to keep her in the same place, but maybe a different position. Or a contributor.

Also, I would've get it if Edward wants to completely turn U.K. Vogue around. But hiring Venetia and seeing her work, just goes to show that they are planning to stick to the old U.K. Vogue formula.