The Business of Magazines

I’m confused...So confused...
I don’t know how to express that feeling but it’s very confusing.
Editor at Large of diversity, human rights?inclusion? Is she going to talk about slavery in the Middle East? Is she going to talk about issues in the western world?

Because I don’t know how she is going to address very controversial and problematic issues in that part of the world.

Let’s be frank Lola, we know she won’t criticize any of such human rights violations of the ME. Not if she values her life, and all those working for Vogue Arabia.

Slavery and humanitarian violations will never be safe to discuss so openly in the pages of Vogue Arabia within the ME. I can guarantee you that such loaded issues, along with women and LGBT equally (…and it’s simply about humanitarian equality— not even human rights, that’s being denied in the ME, 2020) won’t dare be advocated by a role that is essentially all about lip-service: Be assured these will be fluff, trivial, feel-good pieces that’s the equivalent of state propaganda. The ME in general is still an extremely conservative and and extremely theocratic culture for any minority that doesn’t abide by or adhere to strict Islamic conventions. When ME and Iranian individuals living in the West, who still identify as Muslims-- but are also very damning of the theocratic state of the ME in general, you understand just how volatile this region is when it comes to human rights.
 
W Magazine Actively Looking for a Buyer — Again
Laden with past-due costs and a pandemic, a new owner already wants to offload the magazine. If he can.


By Kali Hays on June 30, 202

W magazine’s new leadership is already looking to sell the magazine, one way or another.

Acquired only last summer from Condé Nast by Surface Media, which then changed its name to Future Media Group, the oversize fashion magazine has had years of troubles (financial and with waning relevance) that aren’t over yet. With the pandemic crushing most of W’s business, Future Media is said to be casting a wide net for possible buyers, but having little luck so far in locking one down.

As advertising revenue for media is poised to be hit hard due to the pandemic through at least the whole of this year and expenses at W mount, sources say the situation at the magazine is approaching desperate.

The magazine is said to already be behind on paying some vendors and contractors (something that has happened at earlier publications Marc Lotenberg has run), even stretching to before the pandemic, including installment payments due to Condé for the purchase of the magazine. A technology company late last month sued Future Media in New York for $70,000, saying it was hired last year to migrate W to a new web platform and was never paid.

But one company that is said to have shown some interest in W is Bustle Digital Group, owned by Bryan Goldberg. BDG is said to be in early stage talks with W leadership, mainly editor in chief Sara Moonves, but any deal is far from certain.

BDG, like most every other media operation, has been hit financially by the pandemic, but it did receive a PPP loan of $7.5 million, as WWD reported. And Goldberg was eager before the pandemic to increase BDG’s profile with a print product. His relaunch of Nylon was to include a revived print magazine, but that’s been delayed until next year due to the pandemic.

Considering BDG’s financial position, a source speculated that a deal with W could look less like an acquisition and more like a partnership of some kind. Possibly along the lines of what Condé did in 2017 when it launched Gwyneth Paltrow’s Goop magazine. Condé took on some costs associated with the magazine, like design staff and oversight, and printed it for a year with the tentative plan being that it would be acquired by Condé. In that case, Paltrow and Goop began to chafe at editorial stringencies and lack of performance insight and Condé hit financial turbulence, so the two went separate ways. But BDG and W could partner up in a similar fashion, to see if W is worth BDG buying completely.

Marc Lotenberg, chief executive officer of Future Media, declined to comment on any specific potential buyers, but he did claim, “We’re talking to lots of people.” Some media assets can certainly be had for cheap right now, so it’s a good time to be a buyer.

Lotenberg in March put W’s print magazine on an indefinite “hiatus,” soon after the coronavirus took hold in the West, and furloughed or laid off most of its staff, as The New York Times reported then. Lotenberg also told The Times at the time that “all options are on the table” for the magazine regarding its future.

But its new online only operation since March hasn’t been good for traffic to the site. Data from ComScore shows W’s page views in May fell by 24 percent compared to the last three months. Views are down 89 percent from the same month last year. It was similar in April, when traffic was down 19 percent, compared to the previous three months and down 82 percent from the previous year. There is not a single digital ad to be found on the site.

Asked about bringing back any staffers or resuming print publication this year, Lotenberg said there are no plans to do either. “Right now, we’re just taking every day as it comes.” But he praised the staff on hand for “being adaptive and figuring out new ways to work.”

As for the future of W, if it does not get sold to a new owner, Lotenberg said “It would never close under my watch” and that he’s still “a big believer in print.” While the company “always” is open to taking on new outside investment, Lotenberg didn’t mention any new cash coming his way.
source | wwd
 
Just pull the plug.

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Just pull the plug.

Yep. W used to be my favourite fashion magazine, a big part of my formative years buying 10-15 magazines a month. :glare: It's painful to see what has become of it, but not a single ingredient of its heyday is there anymore.

And it doesn't sound like the few employees left there are feeling secure job/income wise either...
 
Has Lotenberg seen the state of magazines in the last two months? LOL. W is not making it through this pandemic. Just no.
 
Suzy Menkes Steps Down from Vogue International:

 
Conde Nast just can't catch a break. I wonder where Suzy is going next; she isn't retiring surely.
 
Why won't Penske buy W and fold it back into WWD? The identity of W is still valuable and necessary, plus under the right management can be a success. Not to even factor in the prospect of block ad booking across WWD and W.
They clearly have a sense of direction when it comes to WWD.

But I'd rather see W buried than under Tonchi's ill-equipped hands!
 
Londons ES magazine will start distributing again on 18th September.
 
Londons ES magazine will start distributing again on 18th September.

Still so far! Hopefully it will be a bumper issue.
I actually miss the magazine, wonder how long the Times will be able to continue with their cartoon covers before pausing.
 
When the Anna Wintour/racial disparity discussion first came up again in early June, it was suggested that Black celebrities would no longer associate with US Vogue, and instead go to Edward at UK Vogue or Samira at US HB. I think it's interesting to note that in the past couple of weeks since then, Naomi Campbell, Alicia Keys, Venus Williams, Amandla Stenberg, Saweetie, Princess Nokia, Tabitha Brown, Yvonne Orji, Mary J. Blige and other women of color have all collaborated with US Vogue. I would never bet against the power and wide-demographic appeal of the brand and of Anna.
 
British Society of Magazine Editors
Magazines are too white. How do we fix it?




The statistics show that diverse and inclusive teams create better content and make for better places to work. So why is the media still so white – and how can we all play our part to fix it?

In the wake of Black Lives Matter protests sweeping the world, join BSME 2020 Chair Maria Pieri, Editorial Director of APL Media along with Busola Evans, Associate Editor and Supplements Editor of Livingetc and Homes & Gardens, Amit Katwala, Senior Editor of WIRED UK, Samantha McClary, Editor of Estates Gazette and Andrea Thompson, Editor in Chief of Marie Claire, as they discuss how magazines can begin to make themselves and their products truly diverse.

10 Things We Learnt

Summarised by Phoebe Walker
BA Journalism graduate, Roehampton University

The BSME held its seventh Lockdown Lunch on Wednesday 1st July, tackling the issue of diversity, moderated by Maria Pieri, BSME 2020 Chair and Editorial Director of National Geographic Traveller (UK) and joined by Busola Evans, Associate Editor and Supplements Editor of Livingetc and Homes & Gardens; Amit Katawala, Senior Editor of WIRED UK; Samantha McClary, Editor of Estates Gazette and Andrea Thompson, Editor-in-Chief of Marie Claire.

1. The exclusivity of the industry: Andrea Thompson, Editor-in-Chief of Marie Claire commented: “The magazine industry is not as welcoming as it could be, and therefore, not an appealing environment for people of colour.” The panel agreed companies have a duty to acknowledge the obstacles people from outside of their own backgrounds are facing and should be looking to provide better routes to entry into the industry.

2. Barriers to entry: There are many barriers to entry for people from ethnic minorities entering the magazine industry. WIRED’s Amit Katawala, highlighted the expectation interns will have to work unpaid. He said: “This gives the impression this is a luxury career, as not everyone can afford to take a year off unpaid to make the connections that they need to make.” Andrea Thompson added this “excludes huge swathes of people and moving forward, the whole concept of unpaid internships needs to be abandoned.”

3. Low expectations of young black people: “From an early age, it is instilled in the minds of young black people that a career in journalism isn’t accessible to them,” said Andrea Thompson. “This is due to a lack of representation within the industry as well as the attitudes of their teachers and educators.” She noted, “there’s a fear they might have to hide a part of who they are in our profession.” Busola Evans, Associate Editor and Supplements Editor of Livingetc and Homes & Gardens, added: “It is important people of colour know this industry can be for them and there is a role for them.”

4. A Blockade in the hiring process: Busola Evans, said: “It’s common practice for managers and editors to employ people who are mirror images of themselves and in order to diversify and transform the industry, companies need to widen their horizons when looking for new talent.”

Samantha McClary, Editor of Estates Gazette, stressed that there are also issues with incentive schemes involving employees brining new contacts to their firms. “This can be a real barrier to making your workforce more diverse because the people we know are often like us,” she explained.

5. Nepotism is rife: The current climate has meant businesses are often in a rush to fill posts when they are up against deadlines and budgets and this means reaching out to the ‘usual places’ and often people you know. “What we do is we ask somebody if they know somebody and end up hiring within this tiny pool of people,” Andrea Thompson admitted. She then went on to express the importance of looking for talent outside of this small circle. In terms of internships and work experience, Samantha McClary explained businesses should be working with charities and offering placements to young people who might not have those opportunities otherwise.

6. The importance of mentoring: Mentorship programmes are an active step in making the magazine industry more accessible for young people of colour. The panel discussed how programmes can connect companies with students who are looking for guidance and encouragement. Busola Evans, noted, there is no quick fix. “Knowing how difficult it can be, I try and take them under my wing. But in order to see change we all have to be more generous with our time.” Reaching out to schools or universities, that are not the norm, is important too, to offer mentorship or recruitment possibilities.

7. A token person of colour: The panellists shared their own experiences of being the only person of colour within their publications. Andrea Thompson said: “It could be a burden becoming the spokesperson for the whole BAME community," while Amit Katawala expressed the importance of hiring somebody for their skills rather than the colour of their skin and because they tick a box. Busola Evans added, “Commissioning editors need to realise black people can write about love, relationships, health and all manner of things. We should not be called upon simply to write something that a white person cannot.”

8. Using your voice and platform: Andrea Thompson noted the current situation has offered a huge opportunity for change and is the ideal time for an open and honest conversation. She said: “We need to acknowledge the privilege that some of us have and some of us don’t have in order to make changes.” Samantha McClary discussed her initial reservations when using her voice to ally the Black Lives Matter movement for fear of opening up the conversation and saying the wrong thing. She said: “ I realised it is incumbent on all of us in any position of power or visibility to talk about the things we need to change.”

9. Diversifying content: “Magazines have a really important job in terms of showing diversity and if you’re not doing that then you’re not really telling the whole story,” said Amit Katawala. He added “I also believe content that has been written by a diverse team of people is better.” Andrea Thompson added: “I’ve sought to create an atmosphere at Marie Claire where diversity just runs through the publication. We are also regularly checking when writing any feature to take into consideration all of the different perspectives.”

10. Making concrete plans for change: Self-assessment is the key to change; the pages of magazines and the teams created need to be more representative of society. Amit Katawala said: “In order to quantify change, it’s really important to take stock of where you are now.” Andrea Thompson and Samantha McClary also agreed. Andrea said: “Lasting systematic change will come from breaking the stigma, talking about race more openly and taking action to transform and diversify the industry as a whole.”
source | BSME via magculture
 
1. 2. 3.

1. Yvonne Bannigan and her lawyer, Michael Cornacchia, at New York Supreme Court in May.
2. Coddington and Bannigan in more carefree days.
3. Clockwise from left: Grace with Jessica Diehl, Yvonne Bannigan, Anne Christensen, Brooke Williams, Michal Saad, Lauren Bellamy, Stella Greenspan, and Tina Chai, in a photo for Teen Vogue by Inez & Vinoodh, 2016.

The Curious Case of the Vogue Grifter
Yvonne Bannigan went from high-profile assistant to convicted felon. Hers is a particularly sad New York story


Somewhere in New York City, an exceptionally beautiful 26-year-old woman is serving three years’ probation on top of 15 days of community service, having pleaded guilty to making $32,209 in unauthorized charges on her boss’s credit card. She is apparently looking for a new job.

Her name is Yvonne Bannigan. The boss in question is Grace Coddington, Vogue’s esteemed creative director–at–large, and because of that people care. Especially readers of the New York Post, which gave Bannigan the paparazzi treatment as she left the Manhattan Criminal Court after her July 2018 hearing.

In the image that was splashed over Page Six after her sentencing 10 months later, Bannigan resembles the sort of best friend/sister/girlfriend/assistant that you’d mostly like but also kind of hate. She wears a wistful expression that’s undeniably sad, but not fatally so. There’s makeup, but it’s tasteful—foundation, bronzer, swipes of mascara, and lip gloss. Her freshly brushed hair is the shade of honey blonde that’s usually the $450 handiwork of Michelle Williams’s colorist. Swanning down the hallway of New York Supreme Court in a long-sleeved black dress, printed with tiny white polka dots—probably not something as plebeian as Theory, but maybe Ganni?—she could just as easily be walking into a casting call for the reboot of Gossip Girl.

An All-American Beauty from Dublin

Bannigan radiates the brand of healthy, all-American beauty that Vogue has relentlessly celebrated, both on its covers and in its high-profile hires. Had things turned out differently, one could imagine her, or someone who looks like her, on the dance floor at the Plaza hotel for the Save Venice Gala, shimmying around in a borrowed ball gown, lifting up her glittery cat’s-eye mask to wave to Lauren Santo Domingo. (Who was, you’ll remember, a junior editor at Vogue before she married into a family of billionaires and became her generation’s closest approximation of Babe Paley.) Occasionally, and maybe even often, people who stick it out in New York end up becoming the people they came to New York to be.

I remember walking across Sixty-second Street one twilight that first spring, or the second spring, they were all alike for a while. I was late to meet someone but I stopped at Lexington Avenue and bought a peach and stood on the corner eating it and knew that I had come out of the West and reached the mirage. I could taste the peach and feel the soft air blowing from a subway grating on my legs and I could smell lilac and garbage and expensive perfume and I knew that it would cost something sooner or later—because I did not belong there, did not come from there.”

—Joan Didion, Slouching Towards Bethlehem

Bannigan was born and raised in Dublin, Ireland, one of three children born to Francine Shelly, a onetime makeup artist, and Brendan Bannigan, who ran a library-supply business. In the spring of 2013, Bannigan arrived in New York and scored an internship in the public-relations department at Zac Posen. She took courses at Parsons and worked as a greeter in Abercrombie & Fitch’s Fifth Avenue flagship, chatting up tourists. Soon, she landed at Elle as an intern. Things were happening. According to her LinkedIn profile, Bannigan spent six months trafficking samples, assisting on shoots, and filing expense reports. (This is two years after a former Hearst intern named Diana Wang filed a federal lawsuit against the publisher on behalf of more than 3,000 other interns, claiming unfair labor practice.)

And then, there was Vogue. It was happening. In February 2015, Bannigan landed at the magazine—or, rather, “brand,” as it now refers to itself—as an assistant in the fashion-and-accessories department under Coddington. And when Vogue’s in-house creative director left full-time employment for an at-large role for the magazine, Bannigan soon followed. By February 2016, she was working for Grace Coddington L.L.C.

Unauthorized Charges

Just two months later, the thievery allegedly began, and it continued for two years until Coddington filed a complaint in early 2018. According to the editor, who was listed as “Informant 1” in court papers, Bannigan’s unauthorized charges totaled $53,564. Shortly after the investigation began, Bannigan’s silver-tongued lawyer, Michael Cornacchia, told the Irish Independent that his client was “puzzled” by the charges, given that she had “nursed” Coddington through two surgeries and a stroke. He continued, “Never, ever during these two years did Coddington, who checked her credit card statements and kept track of her possessions, complain to Yvonne or anyone else about Yvonne’s conduct or any misuse of credit cards or misappropriation of any of her property. In fact, Yvonne was the one who suggested that Coddington go to the police to report the questioned charges and Coddington went to the police the next day with Yvonne’s encouragement.”

And yet, one month later, Bannigan was in court on felony charges of second- and third-degree larceny. She was also accused of taking more than $9,000 in commission payments from selling Coddington’s shoes, bags, and accessories on the Real Real, the luxury consignment site. “This case is driven by Grace Coddington, and as such, her credibility, recollection and motives in bringing this case will be scrutinized by us and hopefully the district attorney,” warned Cornacchia to the court. (Through her lawyer, Bannigan declined to speak to Air Mail, and e-mails to Coddington’s office and agency were not returned.)

Except that Coddington is among the most stand-up characters in the fashion industry, with an untarnished reputation and gilded credentials. The 78-year-old has been with Vogue since she was a teenage model in her native Britain, and became a bona-fide celebrity upon the 2009 release of the documentary The September Issue. Coddington has hosted a talk show, designed a capsule collection for Louis Vuitton, and even sold a memoir for a reported $1.2 million. “Fashion isn’t just frocks,” she once told The Economist. “It’s how we do our houses, our gardens, it’s what we eat and drink.” Coddington and her longtime partner, the hairstylist Didier Malige, shuttle between New York City and Wainscott, where the walls of their ranch are lined with photographs by friends and collaborators like Helmut Newton, Bruce Weber, Patrick Demarchelier, and Irving Penn.

The Dream Version of Yourself

Inez & Vinoodh, the heralded fashion-photography team, even turned their lens on Coddington in 2016. She was flanked by many of her former and current assistants, including Anne Christensen, the stylist and former fashion director of T: The New York Times Style Magazine; Jessica Diehl, the former fashion-and-style director of Vanity Fair (and a contributing editor at Air Mail); and, indeed, Yvonne Bannigan. Coddington is “an extraordinary mentor,” raves the writer Lauren Mechling in the accompanying story in Teen Vogue. “To hear her former assistants tell it, Grace is less a boss than older sister, life compass, and brilliant collaborator rolled in one.... Those who work alongside Grace learn not only about how she concocts images that are like silent, two-dimensional operas, but how to draw inspiration from sources where nobody else thought to look.”

And yet Coddington is a key figure in an industry where all art has a commercial purpose. Even her most spellbinding images for Vogue delicately suggest that the reader at least consider treating herself to a little something from Viktor & Rolf or Marc Jacobs or Giambattista Valli. And while the influence of print magazines is in precipitous decline, the siren call to decamp to New York and become the dream version of yourself remains as irresistible as ever. For the past 20 years, movies and television shows have waged a relentless P.R. campaign for the industry and its lifestyle: in chronological order, Just Shoot Me!, Sex and the City, Project Runway, The Devil Wears Prada, The Hills, The City, The Bold Type, So Cosmo … and so they come, these young women like Yvonne Bannigan, in search of a better-looking life.

But disillusionment arrives fast and furiously. According to an informal poll of high-profile stylists, it’s unlikely that Bannigan’s salary topped $50,000 a year. Withholding for taxes and a 401(k) contribution, the bi-weekly take-home pay comes to around $1,400. Public records indicate that Bannigan shared a two-bedroom, one-bathroom apartment in a complex in the far East Village, and she probably paid about $2,250 a month for the privilege. Even in the far East Village, a cappuccino still costs five dollars, and that’s before the upcharge for non-dairy milk. An unlimited Metrocard for New York’s dysfunctional subway system remains $127 a month.

When Yvonne Bannigan had the opportunity to steal, she evidently stole. It could have been pre-meditated and pathological, or dumb and impulsive. Maybe she worked late one night and ordered sushi on Seamless. Took an Uber home, instead of the subway. Maybe she was instructed to buy four different sizes of gold hoop earrings, and she threw in a fifth for herself. The charges average out to about $1,342 a month, which is fairly easy to achieve when one considers the cost of luxury fashion. It is now entirely possible to spend $555 on a bikini (Eres) or $145 on a bottle of perfume (Grace by Grace Coddington). Or maybe Bannigan was just Amazon-ing her toilet paper.

“I like my money right where I can see it: hanging in my closet.”

—Carrie Bradshaw, Sex and the City

We don’t really know, because it seems that few members of New York’s fashion elite really knew her. She has kept her Instagram account primarily private, although earlier this week it was public, at least for a moment. It had not been scrubbed of any mention of her former life—instead, it seems to serve at least in part as a memorial. Moments from her fashion career abound: Coddington in front of a window at Harrods, in London; Bannigan and friends in Halloween makeup at a V Magazine party; a signed copy of Grace: 30 Years at Vogue: “‘For Yvonne, with love, Grace Coddington’ … what?!”

On February 20, the day after Karl Lagerfeld died, and a few months before her sentencing, Bannigan posted a moody black-and-white selfie, sitting on a sofa at Chanel’s headquarters on the Rue Cambon in Paris during what was presumably a trip there with Coddington, who styled several 2018 campaigns for the brand. “A little fashion pup at the Chanel Atelier in Paris, ahead of our campaign shoot with Patrick Demarchelier - pure magic. #karl,” it was captioned. She just couldn’t help herself.

“The girl could not have been sweeter in real life,” said one seasoned fashion editor, who encountered Bannigan through dealings with her boss. “Mind you, the underlying condition of entitlement, in her case full-blown and severe, is pervasive and completely entrenched amongst her peers.”

Entitlement can be systemic when you’re breathing the most rarefied air in the universe. You don’t go to places like Vogue to make money; you go to make yourself. Yvonne Bannigan was not the only person to work at a glossy magazine and get a little too caught up in the world that it covers, often a little too chummily. She was not the first to fudge her expenses. But she’s a criminal now, even though she only looks like she could play one on TV. According to her Instagram, though, all might not be lost. On June 9, she posted a video of a Manhattan sunset taken from a far-flung land across the East River. Williamsburg, maybe. She captioned the image with a quote from Dorothy Parker: “New York is always hopeful.” But for now, according to an obscure Internet job board, she’s looking for a position in hospitality. Yvonne Bannigan, at your service.

Ashley Baker is the Style Editor for AIR MAIL
source | airmail.news
 
Joyann King has left American Harper's Bazaar and went to Elle Decor and Town & Country as executive director of editorial business development, according to WWD.
 
Joyann King has left American Harper's Bazaar and went to Elle Decor and Town & Country as executive director of editorial business development, according to WWD.
Thank u God. Now, I’m dying to see the new changes
 

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