The Business of Magazines

Fashion Theory Volume 10 Issues 1 and 2
The Journal of Dress, Body and Culture
Amy de la Haye, Becky Conekin


Special Issue: Vogue fashion magazine

This special issue traces the evolution of the classic fashion magazine Vogue. Conekin and de la Haye have assembled a wide range of articles, from Vogue's debut and the Bloomsbury years through Lee Miller and World War II, to contemporary issues in the US, Italy, France, Britain, Japan and Russia.

Fashion Theory takes as its starting point a definition of 'fashion' as the cultural construction of the embodied identity. It provides an international and interdisciplinary forum for the analysis of cultural phenomena ranging from foot binding to fashion advertising. All articles have solid theoretical underpinnings and are based on original research.

Indexed by the IBSS (International Bibliography of Social Sciences); the DAAI (Design and Applied Arts Index); ARTbibliographies Modern; H.W. Wilson Art Index and H.W. Wilson Omnifile Index; the Anthropological Index Online (AIO) of the Royal Anthropological Institute of Great Britain and Ireland; Sociological abstracts; ISI Web of Science/Arts & Humanities Citation Index and ISI Current Contents Connect/Arts & Humanities (THOMSON); and the MLA (Modern Language Association) Bibliography


About the author


Dr Becky Conekin is Principal Lecturer and Senior Research Fellow at London College of Fashion.

Amy de la Haye is Fashion Curator and Senior Research Fellow at London College of Fashion.
Contents


* Introduction and Acknowledgements
Becky Conekin and Amy de la Haye

* Vogue's New World: American Fashionability and the Politics of Style
Alison Matthews-David

* A Vogue that Dare not Speak its Name: Sexual Subculture during the Editorship of Dorothy Todd, 1922-26
Christopher Reed

* "We are fatally influenced by goods bought in 'Bond Street'":
London, shopping and the fashionable geographies of 1930s Vogue.
Bronwen Edwards

* Lee Miller: Model, Photographer War Correspondent in Vogue, 1927-1953
Becky Conekin

* Vogue and the VA Vitrine: An exploration of how British Vogue has responded to fashion exhibitions at the Victoria Albert Museum from 1971 to 2004, with specific reference to 'Fashion: an anthology by Cecil Beaton' and garments imprinted with wear.
Amy de la Haye

* 'Over to you': Writing Readers in the French Vogue.
Agns Rocamora

* In Russia, at Last and Forever : the first seven years of Russian Vogue
Djurdja Bartlett

* Glossy Words : an analysis of fashion writing in British Vogue
Anna Konig

* Elegance and Substance Travel East: Vogue Nippon
Brian Moeran

* Doppie Pagine; not spelling it out
Judith Clark

* Vogue Timelines
Janine Button

http://www.bergpublishers.com/?tabid=1143
 
^that looks interesting thanks for posting :flower:
 
January's theme is spring fashion preview and focuses on the best of the collections.

February does continue the spring preview in a sense but also focuses a lot on Amercican designers if I'm not mistaken.

Agree ! and i believe this is a fact :D
 
BerlinRocks, WOW! Thank you for the wonderful information. But, what VOGUE franchise will release that, all!?
 
^it's not released by Condé Nast ...

and is an old issue, i think ...

I don't know that much ...
but here is what tfser AnnieJackson says about Fashion Theory - she's the one who brought me overhere .... so thanks to her !

Fashion Theory Magazine which is available FOR FREE online (past and present) from many public libraries (there is also Textiles History Magazine for those interested in Textiles but I have never read it).
in Books About Fashion
http://forums.thefashionspot.com/f90/books-about-fashion-designers-recommendations-8013-7.html
 
Vibe Magazine Shutting Down

Vibe magazine, the urban-music magazine founded by producer Quincy Jones in 1993, will be closing, reports Daily Finance.

No word on when the last issue will be published. Eminem last covered it’s June/July 2009 issue.

UPDATE: Danyel Smith, editor in chief of Vibe, says, “On behalf the Vibe Content staff (the best in this business), it is with great sadness, and with heads held high, that we leave the building today. We were assigning and editing a Michael Jackson tribute issue when we got the news. It’s a tragic week in overall, but as the doors of Vibe Media Group close, on the eve of the magazine’s sixteenth anniversary, it’s a sad day for music, for hip hop in particular, and for the millions of readers and users who have loved and who continue to love the Vibe brand. We thank you, we have served you with joy, pride and excellence, and we will miss you,”

R.I.P. Vibe.
justjared
 
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it was just announced that Marie Claire Japan is going in `indeifinite hiatus`..probably not going to return.

Esquire Japan also stopped publishing a few months ago.

Conde Nast Japan was going to publish Glamour but the project was nixed due to the economy too.
 
L'Officiel Launches in Morocco



L'Officiel Morocco marks the birth of his first issue by new collections of caftans and features tailored cut for a female readership urban, trendy, cultured and have thirst for fashion and luxury.

L'Officiel is Moroccan. The famous fashion magazine L'Officiel was born in Morocco in its L'Officiel Morocco. "We exceeded the partnership to a real contract of birth," said at a press conference, Mohamed Laraki, creator of the group Geomedia who brought the franchise. This women's magazine, quarterly, according to its slogan, 100% luxury 100% mode.

With a first issue "collector" of over 270 pages of the magazine very high bar of quality in quantity. Indeed, number 1 of this new collection of caftans made for the occasion by renowned developers such Naïma and Bennouna Zineb Idrissi Lyoubi, Souad Chraïbi for Renata Couture, Zineb Joundy, Lamia Lakhsassi, Houria Laraki Rabéa Telghazi and Salmeron. These series are presented by way of international models and photographed by Harri Peccionitti, Hervé Haddad and Jean-Françoit Aloïsi. "The Moroccans are very aware of what is happening elsewhere and we want to The Official Morocco meet their needs for fashion trends, style, beauty and must go, but the closer to the other side, "says Sofia Benbrahim, editor of L'Officiel Morocco. A double challenge of a multicultural editorial content and putting the Moroccan identity.

In addition, the vast diversity and editorial presentation luxury make this magazine has nothing to envy of its European alike. For the content, the quarterly intends to become the benchmark for Moroccan and international trends. Au rendez-vous, caftans, ready-to-wear, beauty, jewelry, accessories, but also culture, architecture, personalities ... "The Official Morocco aimed at urban women, trendy, cultured, with thirst for fashion and luxury, and especially 35 years who have any life," says Sofia Benbrahim.

Printed in 20,000 copies, the quarterly will be sold at 50 dirhams in kiosks with a selective and specific merchandising in luxury hotels, riads and spas. The launch of this magazine is covered by a license agreement ratified by the group and Geomedia Publishing Jalou which is a world leader in the premium edition. Alongside its launch, The Official Morocco organized a spectacular exhibition with the participation of big international names from the world of fashion and art. The major achievements, the mass media!

maroc media
 
L'Officiel Morocco! At this rate, we'll be getting Elle Gibraltar. Bring it all on!
 
Great article from The Times
From The Times
July 2, 2009

Why Vogue still wields such power

As well as defining generations of women's style, the original style bible continues to court controversy after 90 years

Anna Wintour in her office at Vogue
Lisa Armstrong
Vogue editor slams designers for tiny sizes! Vogue editor promotes paedophilia! Vogue editor wears same skirt almost twice! Honestly, sometimes you can’t open a paper or check your tweets without discovering what Anna Wintour really thinks of Michelle Obama, or whether French Vogue approves of, say, breathing. For God’s sake, a colleague inquired, genuinely flummoxed by the recent kerfuffle over sample sizes, does it still matter what the editors of Vogue say? Why does anyone care if they write a letter/hold a weekly weigh-in for their staff/ban the colour pistachio/publish an all-black model issue? Isn’t it all about blogs and weeklies nowadays?

Well, yes.

And no. If fashion, as has often been observed, is a religion — and it has the famines, the tablets, the ominous edicts in questionable syntax delivered by someone wearing something floaty and slightly mad — then it needs its Bible, Torah, Koran and Tom Cruise, its Armani-sponsored, Swarovski-studded, pop-up pamplet. Why not one with full-colour illustrations by Mario Testino?

I should state here that I learnt my trade on Vogue (reason enough, some might think, to blame it for everything) and still write for it. So I’m probably biased. But I can also see that in one important aspect — selling fashion — all those weekly fashion-cum-celebrity glossies and expanded newspaper fashion sections that didn’t exist a decade ago shift far more product than any of the upmarket monthlies, including Vogue. It’s not only product. With their familiar cast of characters (Jennifer Aniston, Victoria Beckham, Angelina Jolie) and rotating plot-lines (Jen finds love, Jen loses love, Posh gains weight, Posh loses weight, Angelina finds child, loses Brad, etc) the weeklies have created a compelling reason to buy them.

RELATED LINKS
The women at the helm of Vogue
Vogue editor launches war on size-zero fashion
Even Vogue thinks you can be too thin
Nor is the job of flinging out high-minded edicts as plain sailing as it once was, let me tell you. The days when all a fashion editor had to say was “Think pink” or “Knee length, ladies” for the wealthy elite to get themselves to their nearest dressmaker with a pair of shears, the days when Vogue was the uncontested fashion Führer of mini Führers, are long gone. Fashion is now a mass sport, which is both good for the magazine (British Vogue’s circulation, at 220,000 a month — up 5 per cent year on year, with an 8 per cent increase in subscriptions, is higher than ever before). And the masses are nowhere near as meek and pliable as once they were. Vogue can float the idea of the jumpsuit and the rest of the industry will take note, but it can’t guarantee that it will fly.

Additionally, over the past decade, there has been the ascent of a slew of glossy “alternative” fashion magazines, from the French Numéro to Condé Nast’s own Love magazine, launched earlier this year unto the prestigious high ground that was once reserved for Vogue. Yet somehow, just as the nation turns to the BBC in times of crisis, royal divorces and Wimbledon, so planet fashion reaches for Vogue when it needs confirmation that fascinators really are dead.

Fashion craves certainty. It demands clarity. I learnt early on in my career as a fashion journalist that the last thing anyone who is asking about this season’s colours/lengths/trends in breast enhancements wants is a benign, touchy-feely, “these days you can probably wear whatever suits you” response. When it comes to fashion, women don’t want softly, softly condescension. They want fascist dictatorship. It makes shopping so much more linear.

Ultimately, however, even more than its readers, more than the fashion fraternity at large (which loves, by the way, to b*tch that Vogue isn’t what it was — it was bitching when I started there 20 years ago and was probably bitching in 1917, a year after the UK launch), it’s the media at large that happily subscribes to the notion of Vogue as omniscient, probably because quoting an über source helps the harried news hack to validate any fashionrelated story that he or she is under the cosh to run.

And there are a lot of fashion-related stories. When I was a Vogue rookie it felt as though we were writing for a tiny elite. We’d wax on about The New Soft and still everyone insisted on wearing The Old Hard.These days fashion has pollinated with celebrity, big business; even, occasionally, politics. Fashion issues are part of mainstream culture. Jimmy Choo designs for H&M and the latest anorexia/Primark furore gets debated on Any Questions.

Which is why, when Alexandra Shulman writes a letter to designers (as first reported in The Times) pointing out that their samples — the clothes that they fit on teeny tiny models to be shot on teeny tiny models — no longer fit the teeny tiny models, the fashion world takes notice. Or more notice than it would if any other editor, however respected, wrote to it. It takes note, too, when Anna Wintour announces that “matchy matchy” is the work of Satan, even though, at the time, it had to ask its assistant what “matchy matchy” meant. It goes into a tailspin of existential accessories doubt if French Vogue’s Carine Roitfeld suggests that handbags might be bourgeois or decides to dispense with skirts and trousers and do a big push on knickers or cigarette holders on every single page of her magazine instead. And if Franca Sozzani, the eternally chic papal envoy in charge of Italian Vogue, ever decided to put a picture of Grant Bovey and Anthea Turner on her cover, the entire fashion world would suddenly embrace flicky feather cuts. Now tell me that’s not power.

French and Italian Vogue have the “edgier” end of the market pretty much sewn up — not bad, considering how long they’ve been around. American and British Vogue, with a bigger readership than either, embrace fashion in a broader sense (as in featuring some clothes that go up to a size 14) and are thus the Condé Nast cash cows. Much of this revenue comes from advertising, with the UK edition selling 956 pages in the year to July; an impressive total, even if it does represent a 32 per cent drop on the previous year.

Collectively, these four editors have been in charge for aeons: 21 years in the cases of Wintour and Sozzani; 17 in Shulman’s. Roitfeld, the risky newcomer, has been in place for eight years. Unlike Bauer Consumer Media (formerly Emap), which spins its editors into new jobs every three or four years, Condé Nast prides itself on the longevity of its appointees. This adds to their aura of inviolability and immutability.

Atheists, agnostics and empiricists will argue that this blind allegiance to an outmoded belief system, unsupported by any kind of science, is precisely what’s wrong with organised religion. Strictly speaking, it’s true: the numbers

don’t stack up. French Vogue’s circulation, at 133,000 a month, is minuscule compared with that of the fortnightly French Elle. American Vogue, at 1.2 million a month, is outsold by the brasher, even breathier and more celebrityencrusted American InStyle (1.7 million). Italian Vogue sells about seven copies, once you discount all the fashion journalists and buyers who get it on expenses.

But faith works according to mysterious laws, chief among which is that it categorically shouldn’t have to withstand close scrutiny, or where’s the faith bit of the equation? It can’t be reduced to something as simplistic as a set of figures of Man’s own devising, otherwise we’d all be running around saying, “Ooh, have you seen what OK! (circulation: 508,000) has to say about The Balmain Shoulder?” Whereas in reality no one gives a stuff what OK! says about anything.

The fashion industry operates on a strict caste system, since without hierarchy the whole process of issuing diktats and watching them trickle down until they reach a level of ubiquity that means that the originators wouldn’t be seen dead in them becomes meaningless. That’s why designers have a list of priority publications to which they will lend their clothes, with Vogue remaining the gold standard approval marker. And it’s why some publications, despite having circulations of more than half a million, find that their phone calls mysteriously go unanswered when it comes to requesting clothes for a shoot (they have the wrong kind of half-million-plus circulations, stupid).

The most obvious display of caste is at the shows when every single journalist and buyer is seated according to his or her standing in the industry — talk about a public stoning — but it’s also evident in daily dealings. The top models and photographers, for instance, only work with Vogue, American Harper’s Bazaar and one or two established niche magazines such as V, Ten or Another Magazine. Although there are periods, as with the recent one, when top (earning) models are so anodyne-looking that only the geekiest of readers would recognise any of them, the prestige that they confer on the magazines they work for has ripple effects in the industry.

Accordingly, the fashion glossies make most of their money from advertising sales.

Kudos comes with access and while access comes with strings attached (picture approval and a tacit understanding that the magazine won’t go in too hard on the interviewee), a skilful writer and the right subject can still yield fruit. British Vogue’s interview with Cheryl Cole earlier this year provided the tabloids with fodder for days, while American Vogue got Jennifer Aniston to say that Angelina Jolie’s predatory moves on Brad Pitt, then Aniston’s husband, had been “very uncool” — a quote that ricocheted round the world.

They may be a slow burn compared with an instant hit about Pixie Geldof’s traumatic encounter with a smudgy mascara, or Sienna’s latest heartbreak, but most readers understand that the weeklies don’t have the same relationship with First Ladies and A-listers that the Vogues do.

There’s a caste system within the Vogue family, too, wouldn’t you know it? A flotilla of more recently launched Vogues — Greek, Indian, Chinese — exert not one iota of influence beyond their native countries but are, to an extent, carried along in the ripples created by the big four. Together, they create a sort of tidal wave of Vogue-iness around the world.

But then fashion’s entire ecosystem is a ripple effect. Vogue probably won’t cause a rush on a specific pair of bondage sandals (its three-month lead means it has often gone to press before some of the high street brands have decided when they’re going to launch their killer pieces), but it still has the power to get the idea of bondage shoes out there in the first place.

And it can rebrand people, too. After it featured Coleen McLoughlin (now Rooney), photographing her in its own image, the world mysteriously stopped baiting her about her tracksuits and began noting her lovely line of Chloé dresses. And lo, a fashion figure, albeit a mainstream one, was born. Yup, that’s right. Entire human beings have been reinvented courtesy of Vogue, and they haven’t even had to come back as a size 0. (Are you listening, Gordon?)
 
I'm still confused about Interview Magazine. So when is Baron's 'first' issue going to be? August? Or September? :unsure:
 
it was just announced that Marie Claire Japan is going in `indeifinite hiatus`..probably not going to return.

Esquire Japan also stopped publishing a few months ago.

Conde Nast Japan was going to publish Glamour but the project was nixed due to the economy too.

marie clare and seventeen here in the philippines has already gone bust as well... (last march actually) it's scary to think that this might also happen to more influential mags in the future... the chilling recession...
 
That said, throughout the decades, there have been innumerable Conde Nast editions that have come and gone, and in some periods, the company has culled their entire range of titles in some countries, save for maybe one magazine that's allowed to live. Then they build things up again, when the time is right and the opportunity comes. There's always hope.
 
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^^ OMG! I didn't know that Seventeen Philippines has stopped it's publication... I thought they just did the 2 months combined trend. OMG! Shocking!

This makes me change my mind on having VOGUE Philippines. It's a shame if VOGUE Philippines succumbs into recession knowing that it's the largest fashion magazine...

SAD!
 
I think it will be interesting for Russian members.

Interview with president of HFS (Hachette Filipacchi Shkulev) : Viktor Shkulev.


"I think this is not the bottom"

You've already talked about why parted with editor in chief of Elle. And was not there was an attempt to blame the decline of advertising time on the wording of the crisis?
- Absolutely not! As in the State of the Church is separated from him, and we - Department of advertising and distribution. Revision doing their business, the advertising department - his, and distribution - a. Revision is not responsible for advertising sales. And we even had a horrible dream, do not make any claim to creative team. On the contrary, one of our main tenets is that the wording is only one god - the reader.

- And it is the beginning of the crisis went away?
- The reader is behaving in accordance with the crisis. Some of the buying has become less frequent, but the most pessimistic forecasts were not justified. Earlier this year the market became very active to say that, above all, must suffer glossy press ...

- No, said: "At long last, those soap bubbles burst?
- Yes, or even harder. But in reality this is not happening. Moreover, Elle, in March sold the same number as in 2008-m. Sales of March, traditionally the most important room in year (rush, opening the season) - are the same as in the past, as in the pre-crisis 2008-m.

- By the numbers are how many?
- A lot. Hundreds of thousands.

- Well, what exactly? This is not a secret!
- Why not a secret? The secret. We do not talk, do not reveal. Such a rule in the market - not to mention the circulation. Yes, there are some publications that are part of the "National run the service, they reveal circulation figures. In our ID, for example, "Antenna-Telesem" which is printed exactly those circulation as indicated - 3 million 980 thousand

- A refund of what?
- Approximately 10%.

- And you want to say that the advertiser is also trusted to HMRC?
- For the advertiser can not answer. And here we are circulation share, NTS audiruet and record our roster. We realize, of course, that there are nuances. They do not have the resources to do a very thorough audit - such as would have to be done. Yet, even the fact that publishers offer runs for the audience, forcing them to speak the truth. Or to be closer to the truth.

- So for the rest, neaudiruemym editions, you can forgive, to lie?
- And the rest, there is unspoken rule, to which I said. Circulations are shown in the output. And each of the magazines - a level of write-offs. A glossy press, as is known, the level of great. Since this is primarily a business built on advertising revenue ...

- Okay, let's ask it. Interest write-offs from circulation magazine Elle in March what?
- Now, in times of crisis, is increasing. And in March he was at the level of last year, even a little lower. We began to slowly reduce the circulation of Elle - because of the apparent reduction in consumption. And in March this year, we printed fewer than last year. A sold about the same. Thus, we write the level was lower.


PRESS underestimated

- Chapter ID "Seven Days" in an interview with Dmitry Biryukov Slon.ru said that categorically do not agree with estimates ACAR - by the numbers falling advertising revenue. Do you agree with the ACAR?
- I do not agree. We met yesterday with Alexander Antonov heads the Moscow Union of Printing. " His company is engaged in distribution and servicing of the huge number of outlets. He said that the crisis had clearly demonstrated the effectiveness of the distribution: a poorly organized everything is falling, while working well - no. A small players (such as such as the "Cardoso", according to Alexander Antonov) were very high results in spring, but February was their best month in history. If you look at the global distribution of the press, the disastrous collapse there. There is a moderate drop in - 15 - 20%, somewhere - about 30%.

Our Antenna, Telesem "increasing sales, revenues from sales. And even if there is a drop in advertising at 25%, the growth in income from the sale of copies - about 12%. In some cities the circulation declines, according to the individual - is growing, but on average we see a slight increase in copies, and the money growth - is substantial. The point is that during the crisis the price has risen. Or the publisher raised the price, or it has risen by an increasing margin distributors (from January 1, introduced a single tax on imputed income, which was not before). And it podtyanulo retail prices up. And in other publications, where we and other publishers have raised prices, the income is no longer available. And this is all said that the market is in a position where there is no catastrophe. Yes, I would say, the fall sales, which corresponds to the level of lower demand, lower purchasing power. The press has a publication that fall more, there are those that fall below. But in the press, there are publications that have continued to grow.

- And how it all relates to the fact that you do not trust to WI?
- Explaining all this, I mean that the picture on the market - a more colorful. There is, and gray, and dark and light, and even bright colors.

- The horror, but horror-horror?
- Do not see the horror! On the market there is a crisis, but the horror was in the 98 th when grohnulis banks. Now we see the potential bankruptcy, and we have time to navigate. The situation in the press today, in my opinion, is comparable with what is happening on TV. Despite the fact that according to some estimates, the decline of television is 20%, advertisers, analysts and other players say - 40 - 47% of sales!

- Why such different numbers?
- Because lobbyism.

- And publishers are willing to fight it?
- The publishers of this show. You hear me? I hope that my words even appear.

- But this is probably still not enough to deal with television lobbying? Publishers are aware of?
- A lot of years. Many years in the market, we have a situation where the TV market is overvalued, overvalued and the market underestimated the press.

- And who overestimates?
- We do not telerynka estimates. Those involved in TNS AdFact, Analytical Center WI.

We are using estimates of TNS, seeing as it is not the same. TNS provides some figures, but expert estimates ACAR we see others. And it is very different. It's not our area, but we ask the question: why such a disparity?

But we know more - Russia press underestimated. We do not even have such a tool, like a TV - People-meters, more accurate for measuring the audience. Measure TV is much easier than the press.

In addition, the TV - a more concentrated media. The bulk of the advertising - on national channels, and it is easy to calculate. A press heavily fragmented. If the magazines are mostly - national, the newspaper, free advertising publications, mostly - regional. And every small town has several publications. And in every small town was not involved in the measurements.

LESS 25%

- And if you talk about your publishing house, a drop occurred? In the advertising revenue?
- In general, about 25% - in rubles.

- This is the bottom of the crisis? Or will the second wave?
- I think that is not the bottom.

- What makes ID?
- We finished last year with sales (total revenue) of about 200 million euros. This is the second volume of sales in our publishing group Lagardere Active - after an American company. A net profit, we were the first in our group. The indicator, called EBITDA, was more than 25 million

And in comparison with Russian publishers to disclose information, the indicators of Sanoma, for example - below. They - a conglomerate of companies: there is a partnership with Hearst, are - without Hearst, c Wall Street Journal and the FT ... But in the end figures that being consolidated into one company, were lower than ours. I can not judge the volume of sales Burda, they are - a private company does not disclose information. And all the other Russian publishing house - smaller.

- Are you about the IPO, by the way, never?
- No, it's not our direction. The group Lagardere - a public company, and it is not logical - be it a "daughter" - a public company.

Why closed?

- I talked to one of the leaders of your ID, which said that you made a decision - not to close any publication.
- While we do not see the point in closing. Why, if it is profitable, is close to zero or developed? Each of the publications we are able to conduct some exercises.

- Due to what is happening - at a time when others are closed?
- This portfolio. As we close Elle, if this publication, which sells the most advertising in the country - in the bands? Also Independent Media does not think the closure of Cosmopolitan. No we have such publications, to whom the question of closure.

- Are you satisfied?
- No, we mean the temperature of the crisis. Alarmingly.

Total CHALLENGE

- You are not pleased with the closing of the competition?
- Not at all. I always try to soberly assess and understand why this is happening, what conclusions can be made. On the market - are emblematic and very sad for me closure. For me very sad closure of the magazine Gloria. Independent Media had a very good job, tried to create a new concept of its magazine, designed for a new niche - women's weekly mass for the woman who cares about himself and his environment and family. The magazine did not go. It seems that middle class women in Russia who have to live their home, such as another look at the magazine than in Finland, the States or Germany. They did a good magazine of international standard, but to the Russian market is not well adapted.

Another sad conclusion of the story - that seems to have a small number of women willing to consume a weekly magazine. I represent the American woman who buys a subscription to more than one weekly. And we do not even know what kind of account - each thirtieth or fiftieth each buys weekly.
For me is very symbolic and sad is the closure of the magazine Viva (ID EdiPress), the journal of the stars. The same thing - there is no interest in the stars. It remains for us in Russia is not the stars, not well developed show business.

Very sad closure of the magazine Smart Money, which was established as a business-weekly new model - for the young, energetic person who wants to cover everything. And, as I thought the magazine was designed for medium-sized businesses. A medium-sized businesses, has been, or is not reading, or reading those magazines, which already have - they are no longer needed. Sadly.

- And to what publications on the market still is the threat of closure?
- The threat - the total. If we take each of the niche, then based on the number of players in it, or every fourth or every fifth or lower edition - under threat. Take a niche men's magazines. Number one - Maxim, and then go Men's Health, GQ, Playboy and Esquire. The other is the threat of closure. Everything depends on the ambitions of the investor.

LAWS OF BUSINESS

- Generally there is a point of view, that the publishers we are looking forward to the advertiser, not to the reader. Not in this problem?
- It lzhepravda. In the Russian market there are several groups of publishers. There are those for whom it is - the main business and who live under the laws of publishing.

- One of them - in front of me?
- Maybe (smiles). For them, the main thing - the reader. The objective of such a publisher - to make an interesting product and sell it at a certain price of a certain number of copies. Then all srastetsya - you will be advertisers who are interested in your target group. And there is an extreme wing, which is little interested in the publishing business, as such: he and a couple of comrades emerge advertisement ... It passes very quickly. Man to play once and quit.

Malakhov - it has come to stay

- Returning to the stars. You are at the same time c Viva (chief editor - Inna Churikova - Slon.ru) ran his StarHit (chief editor - Andrei Malakhov).
- They went a little earlier.

- Guest star - a strategy justified? Obviously, this ad at the beginning of the course, and what then?
- To us - is absolutely justified. Journal StarHit - the publication of Andrei Malakhov.

- He was seriously engaged in the magazine?
- Yes, as it can for you and strange sounds. Each week during certain hours, he - in the ID. Andrew with us a long time, it is - a long-term project. Yes, this magazine has a special design - namely because Malakhova. Drafting management there is arranged a bit differently than in other magazines, but Andrew is the role of editor.

- Journals of the stars - it is a strange niche. All of them are trying to do, but you yourself acknowledge, no stars. No irony there?
- This is not a paradox. The most popular magazines in Russia, who use the stars as newsmakers, go to the television - it is "Seven Days" and "Antenna-Telesem. The program in Russia is more important component than the information about the stars.

A group of magazines that go without a television, and went our StarHit. We started with the publication of the program, but realized that the market does not need to publication, which covers only the most important television event. Market needs a complete detailed program, or no. This niche is now four or five magazines. There have StarHit one of the largest audiences, and we received it very quickly.
 

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