LoveFashion25
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Announcing... The 2nd Annual theFashionSpot Awards. Vote NOW via the links below:
Designer of the Year
Ready-to-Wear Collection of the Year
Haute Couture Collection of the Year
Model of the Year
Magazine Cover of the Year
Ad Campaign of the Year
Thank you for participating!
VOTING WILL CLOSE 27/12/2024 EOD!
The Business of Magazines
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Benn98
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LOL, same here. At least no more belly-cupping covers. It was a middle-of-the-road edition that should never have seen the light of day. It was hilarious to see them get SO many opportunities SO wrong. Taste and creativity can't be bought. You either have it or you don't. They didn't.
I have conflicting feelings about Anna dello Russo, but somehow this news made me sadder than what I was expecting. If nothing else there was a clear and direct vision/POV from Vogue Japan.
caioherrero
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There’s more info about that?
Matsuko is already out?
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Honestly what's the point if all she's gonna do is supervise british reprints?
CN can go to hell. These editors need proper jobs at proper magazines. Rebrand Bazaar to be the new great fashion magazine. Make Elle an exciting magazine. There are so many opportunities now (none of which will turn out the way they should, but I still hope).
MissMagAddict
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Condé Nast takes global gamble on future of magazines
The magazine publisher is scrapping local content and shedding staff. Some call it necessary, others say it’s suicide. Will readers buy it?
August 28 2021, The Sunday Times
Thud, thud, thud — they land like telephone directories on the doormat. The September issues of Condé Nast’s magazine titles — Vogue, GQ, Condé Nast Traveller, Wired — are the most important of the year because they are fat with advertisements aimed at consumers heading back to work after the summer. Media watchers count the number of pages of ads and pore over the articles to work out which title is likely to be having a good year and which is not — signs that can seal an editor’s fate.
Those media watchers will be looking for something bigger in this year’s crop: signs about the future of Condé Nast itself. That’s because the new editions are the first fruits of what even some insiders concede is “an epic gamble” to save the ailing publisher — a bet so bold that a former star Condé Nast editor, Tina Brown, fears it could kill the company.
“I’m dismayed at what they’re doing — I fear it’s suicidal,” the former editor of Tatler, Vanity Fair and The New Yorker told The Sunday Times last week.
The reason for her dismay is that Roger Lynch, the global chief executive who joined Condé Nast in 2019, is taking the axe to the fiercely independent country-specific editions that have been the bedrock of Condé Nast’s success, in favour of more “global editions”.
International editorial directors, based in London, New York and Asia, will create issues of Vogue, GQ, Wired and Condé Nast Traveller designed to appeal to audiences from Shanghai to Paris. Each title will share stories, cover stars, fashion shoots and more — although editors insist there will still be some local content in each version.
The new issue of GQ proclaims “Global Issue” on its cover, with an image of the planet. Condé Nast Traveller’s new tagline is “The world made local”. Vogue speaks of “New beginnings”.
The consolidation is part of a plan to cut costs and beef up worldwide digital publishing. Hundreds of the company’s 6,000 staff are being made redundant. In London, Condé Nast’s European headquarters, most of the staff of British GQ are leaving — including acclaimed editor Dylan Jones — after control of the title was handed to the New York-based global editorial director, Will Welch.
Melinda Stevens, former editor-in-chief of Condé Nast Traveller, has also left, after losing the battle for the global top job on the magazine to Divia Thani. Most of the long-serving editors-in-chief of the European, Chinese and Indian editions of Condé Nast titles have gone too.
The publisher needs to balance the books after years in the red. It is a private company, owned by the billionaire Newhouse family, and does not disclose group results, but insiders say it will continue to operate at a loss this year because, during global lockdowns, news-stand sales of its titles slumped and advertisers, which provide most of the magazines’ income, slashed their spending.
The dip comes after years of declines in revenue as the company struggled to seize the global opportunities offered in the digital age. Apart from The New Yorker and Wired, Condé Nast titles have failed to build a robust digital subscription business.
Lynch, former chief executive of the US music-streaming outfit Pandora, argues the new global magazines will suit modern, internationally minded audiences and drive a return to profitability. Once the new titles — under global chief content officer and veteran Condé Nast editor Dame Anna Wintour — are established, new branded digital products will be created that will generate additional revenue.
All these new initiatives will ensure Condé Nast breaks even next year and generates “double-digit operating profit margins” by 2024, Lynch predicted.
Could his plan work? Condé Nast sources say the technology “bible” Wired could — under the new, New York-based global editorial director, Gideon Lichfield — prosper as a single global print and digital publication. That’s because technology is interesting no matter whether it hails from Silicon Valley or Shanghai — and because tech readers are less bothered about fine writing and photography.
One senior Wired staffer said last week: “We should have done this years ago and backed it up with digital content, global events and conferences to make us more than just a print magazine.”
However, there are doubts about the fashion and lifestyle glossies. There are very few, if any, examples of successful global lifestyle magazines — and with good reason, said Brown. “The concept is nonsense. Publishers have tried it before and it always fails.”
She argued: “Magazines about culture, in all its forms, work when they are in tune with local audiences. If you try to appeal to everyone in the world, you end up so vanilla you appeal to no one. Even subjects that can be global — say, a cover interview with Beyoncé — need a different angle in the US, Europe and Asia.”
Brown added that magazines need to be “fiercely independent talent hubs, attracting the best writers, photographers and designers — for both print and digital. Amalgamating titles into a big corporate blob called ‘Global Vogue’ or something suppresses local creativity and edge and drives out talent.”
Going global raises practical issues too. Glossy magazines rely on Hollywood to create cover stories, but the release dates of hit movies vary by as much as three months around the world, making it hard to time publication in key markets. Analysts say it is also unclear how Condé Nast will make money with digital spin-offs from print. Some worry that it will be hard to create popular digital offerings out of titles that are, by definition, elitist, luxury products.
Lynch has given few details of likely digital initiatives from GQ and Condé Nast Traveller, although Vogue is experimenting, successfully, with digital commercial tie-ups with the likes of the luxury goods company Salvatore Ferragamo.
Some advertisers are sceptical. “Ad campaigns in global publications are tricky because what passes for beauty and desirability differs greatly from market to market,” one leading US-based advertiser said. “If you’re a fancy car-maker, what car do you put in a global issue of GQ that will appeal as much to men in Sweden as in Seoul?”
Of all Condé Nast’s new global titles, GQ looks the most at risk from the the new direction, analysts say. British GQ was widely considered the best of the various former national editions. “Does the new team in New York have a sense of what is of interest in Europe, let alone Asia?” asked one London-based former staffer. Another added: “British GQ has quirk, humour and grit. Will any of that be retained?”
As for Condé Nast Traveller, company staffers say that, like Wired, it can be global “because travel, like tech, is global”. But Brown, whose late husband Sir Harold Evans set up the magazine 34 years ago, disagrees. “Travel is a whole different ball game in different countries. Someone in India views it very differently from someone in New York. How can you cater for all in one title?”
Tatler, which is largely about posh English folk and their peculiar habits, will continue as a UK-focused title under Richard Dennen, whom Brown praised as “a very talented editor”.
Senior figures at Condé Nast claim the early signs are that Lynch’s gamble is paying off. They say that over the past two years total audiences on all platforms have grown by double digits and digital revenue now comprises some 60 per cent of the advertiser-based total. They add that at British Vogue, under editor-in-chief Edward Enninful, digital revenue has reached £1 million a month and the title now has over a million YouTube subscribers.
It is a different story at GQ. Condé Nast sources concede that digital traffic for the first global issue “has fallen off a cliff”, especially in Britain. The 18-page cover story featuring US musician The Weeknd was read by just a few thousand people online, the worst figures in the magazine’s history.
A source close to Lynch said readership figures of global issues “will inevitably vary from country to country and issue to issue as our new strategy evolves”.
Brown fears for GQ’s future — and that of Condé Nast as a whole. She argues that Lynch “doesn’t know how to fix any magazine company, let alone one that has been so slow to wake up to the opportunities of the digital world and is fighting to survive. He’s the king of the reorganisation — constantly coming up with new titles and merging departments in the name of ‘global strategy’ because he has no understanding of creativity. I fear Condé Nast, the last quality magazine publisher, is going to go down like the Titanic.”
Wintour rejected the claims, telling The Sunday Times: “Everything about our storytelling remains local — writers, reporters, editors, directors, and photographers exist in specific places after all. But our titles need to be worldly.” Trying to be “local and global at once is a balance any media company has to strike.” Lynch, she said, “understands this as well as anyone and has led us through a critical transformation”.
She added: “We have a responsibility to evolve — all media companies do. The future of journalism depends on it.”
source | The Sunday Times
The magazine publisher is scrapping local content and shedding staff. Some call it necessary, others say it’s suicide. Will readers buy it?
August 28 2021, The Sunday Times
Thud, thud, thud — they land like telephone directories on the doormat. The September issues of Condé Nast’s magazine titles — Vogue, GQ, Condé Nast Traveller, Wired — are the most important of the year because they are fat with advertisements aimed at consumers heading back to work after the summer. Media watchers count the number of pages of ads and pore over the articles to work out which title is likely to be having a good year and which is not — signs that can seal an editor’s fate.
Those media watchers will be looking for something bigger in this year’s crop: signs about the future of Condé Nast itself. That’s because the new editions are the first fruits of what even some insiders concede is “an epic gamble” to save the ailing publisher — a bet so bold that a former star Condé Nast editor, Tina Brown, fears it could kill the company.
“I’m dismayed at what they’re doing — I fear it’s suicidal,” the former editor of Tatler, Vanity Fair and The New Yorker told The Sunday Times last week.
The reason for her dismay is that Roger Lynch, the global chief executive who joined Condé Nast in 2019, is taking the axe to the fiercely independent country-specific editions that have been the bedrock of Condé Nast’s success, in favour of more “global editions”.
International editorial directors, based in London, New York and Asia, will create issues of Vogue, GQ, Wired and Condé Nast Traveller designed to appeal to audiences from Shanghai to Paris. Each title will share stories, cover stars, fashion shoots and more — although editors insist there will still be some local content in each version.
The new issue of GQ proclaims “Global Issue” on its cover, with an image of the planet. Condé Nast Traveller’s new tagline is “The world made local”. Vogue speaks of “New beginnings”.
The consolidation is part of a plan to cut costs and beef up worldwide digital publishing. Hundreds of the company’s 6,000 staff are being made redundant. In London, Condé Nast’s European headquarters, most of the staff of British GQ are leaving — including acclaimed editor Dylan Jones — after control of the title was handed to the New York-based global editorial director, Will Welch.
Melinda Stevens, former editor-in-chief of Condé Nast Traveller, has also left, after losing the battle for the global top job on the magazine to Divia Thani. Most of the long-serving editors-in-chief of the European, Chinese and Indian editions of Condé Nast titles have gone too.
The publisher needs to balance the books after years in the red. It is a private company, owned by the billionaire Newhouse family, and does not disclose group results, but insiders say it will continue to operate at a loss this year because, during global lockdowns, news-stand sales of its titles slumped and advertisers, which provide most of the magazines’ income, slashed their spending.
The dip comes after years of declines in revenue as the company struggled to seize the global opportunities offered in the digital age. Apart from The New Yorker and Wired, Condé Nast titles have failed to build a robust digital subscription business.
Lynch, former chief executive of the US music-streaming outfit Pandora, argues the new global magazines will suit modern, internationally minded audiences and drive a return to profitability. Once the new titles — under global chief content officer and veteran Condé Nast editor Dame Anna Wintour — are established, new branded digital products will be created that will generate additional revenue.
All these new initiatives will ensure Condé Nast breaks even next year and generates “double-digit operating profit margins” by 2024, Lynch predicted.
Could his plan work? Condé Nast sources say the technology “bible” Wired could — under the new, New York-based global editorial director, Gideon Lichfield — prosper as a single global print and digital publication. That’s because technology is interesting no matter whether it hails from Silicon Valley or Shanghai — and because tech readers are less bothered about fine writing and photography.
One senior Wired staffer said last week: “We should have done this years ago and backed it up with digital content, global events and conferences to make us more than just a print magazine.”
However, there are doubts about the fashion and lifestyle glossies. There are very few, if any, examples of successful global lifestyle magazines — and with good reason, said Brown. “The concept is nonsense. Publishers have tried it before and it always fails.”
She argued: “Magazines about culture, in all its forms, work when they are in tune with local audiences. If you try to appeal to everyone in the world, you end up so vanilla you appeal to no one. Even subjects that can be global — say, a cover interview with Beyoncé — need a different angle in the US, Europe and Asia.”
Brown added that magazines need to be “fiercely independent talent hubs, attracting the best writers, photographers and designers — for both print and digital. Amalgamating titles into a big corporate blob called ‘Global Vogue’ or something suppresses local creativity and edge and drives out talent.”
Going global raises practical issues too. Glossy magazines rely on Hollywood to create cover stories, but the release dates of hit movies vary by as much as three months around the world, making it hard to time publication in key markets. Analysts say it is also unclear how Condé Nast will make money with digital spin-offs from print. Some worry that it will be hard to create popular digital offerings out of titles that are, by definition, elitist, luxury products.
Lynch has given few details of likely digital initiatives from GQ and Condé Nast Traveller, although Vogue is experimenting, successfully, with digital commercial tie-ups with the likes of the luxury goods company Salvatore Ferragamo.
Some advertisers are sceptical. “Ad campaigns in global publications are tricky because what passes for beauty and desirability differs greatly from market to market,” one leading US-based advertiser said. “If you’re a fancy car-maker, what car do you put in a global issue of GQ that will appeal as much to men in Sweden as in Seoul?”
Of all Condé Nast’s new global titles, GQ looks the most at risk from the the new direction, analysts say. British GQ was widely considered the best of the various former national editions. “Does the new team in New York have a sense of what is of interest in Europe, let alone Asia?” asked one London-based former staffer. Another added: “British GQ has quirk, humour and grit. Will any of that be retained?”
As for Condé Nast Traveller, company staffers say that, like Wired, it can be global “because travel, like tech, is global”. But Brown, whose late husband Sir Harold Evans set up the magazine 34 years ago, disagrees. “Travel is a whole different ball game in different countries. Someone in India views it very differently from someone in New York. How can you cater for all in one title?”
Tatler, which is largely about posh English folk and their peculiar habits, will continue as a UK-focused title under Richard Dennen, whom Brown praised as “a very talented editor”.
Senior figures at Condé Nast claim the early signs are that Lynch’s gamble is paying off. They say that over the past two years total audiences on all platforms have grown by double digits and digital revenue now comprises some 60 per cent of the advertiser-based total. They add that at British Vogue, under editor-in-chief Edward Enninful, digital revenue has reached £1 million a month and the title now has over a million YouTube subscribers.
It is a different story at GQ. Condé Nast sources concede that digital traffic for the first global issue “has fallen off a cliff”, especially in Britain. The 18-page cover story featuring US musician The Weeknd was read by just a few thousand people online, the worst figures in the magazine’s history.
A source close to Lynch said readership figures of global issues “will inevitably vary from country to country and issue to issue as our new strategy evolves”.
Brown fears for GQ’s future — and that of Condé Nast as a whole. She argues that Lynch “doesn’t know how to fix any magazine company, let alone one that has been so slow to wake up to the opportunities of the digital world and is fighting to survive. He’s the king of the reorganisation — constantly coming up with new titles and merging departments in the name of ‘global strategy’ because he has no understanding of creativity. I fear Condé Nast, the last quality magazine publisher, is going to go down like the Titanic.”
Wintour rejected the claims, telling The Sunday Times: “Everything about our storytelling remains local — writers, reporters, editors, directors, and photographers exist in specific places after all. But our titles need to be worldly.” Trying to be “local and global at once is a balance any media company has to strike.” Lynch, she said, “understands this as well as anyone and has led us through a critical transformation”.
She added: “We have a responsibility to evolve — all media companies do. The future of journalism depends on it.”
source | The Sunday Times
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Holy sh*t
It's so surreal sitting here and just watching Conde Nast plan their own funeral. The fact that all of us can clearly see that this new global strategy will be a gigantic disaster, and yet they're still going full speed ahead.
Also this is so true. Lynch clearly has no clue whatsoever about how magazines - fashion magazines, particularly - appeal to its readers. Its the classic tale of the cold numbers, profit chasing boss dictating how a creativity driven enterprise should be. It never ends well.
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tenor
Admit defeat and reverse the mistake before it's too late. OnlyFans knew when to pull back and rectify their mistake. They're embarrassing themselves with their naive idiocy, and all in the name of profit. Honey, you will have no god damn profit if you continue down this path. What makes you think that what works for freaking Wired magazine can even remotely apply to a fashion, beauty and culture magazine like Vogue? I d i o t s.
Can't wait to see it all come crashing down on their heads.
caioherrero
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Can u imagine Hearst buying GQ and maybe Vogue? Haha
Xone
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So sad, but they are so full of pride and of course when things are sinking, they are blame the weakest link and that's it. But it's gonna be late....How is possible they cannot anticipate this?...They only gonna make people consume the competitors and independent titles...Even Italy and France they are so far away from each other so a global Vogue or European Vogue is gonna fix that? ridiculous
tigerrouge
don't look down
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I'm just about through with major magazines at the moment -
- They want to go beyond clothes and to 'educate' me about major issues - but they can't be bothered to spend money on hiring proper writers or producing decent articles;
- The fashion 'stories' mostly offer nothing beyond the sight of people just standing in frame, and are full of young egotists who think they deserve constant applause just for existing (and everyone's social media presence is 'speaking the truth');
- Magazines pretend they are striking a blow against convention when they ARE the Establishment who made the rules, and the same people who chose to ignore minorities etc for decades are still very much in charge today.
Xone
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I think this is who will represent the Vogue Paris team:
https://instagram.com/eugenietrochu?utm_medium=copy_link
https://instagram.com/eugenietrochu?utm_medium=copy_link
