The Business of Magazines

Not something we ever talk about, but which is essential to the very existence of a magazine - I bought something today which listed the entire provenance of the paper it was made from, what type, what weight, where it came from...
UPM Star Gloss 80 gsm produced by UPM/KYMMENE from the Kaukas mill, Finland. It is elementally chlorine free and coated with kaolin from Brazil or America. The cover is printed on 115 gsm Royal Roto Gloss produced by Sappi Paper at their Nijmegen mill in Holland. It is elementally chlorine free, and coated with china clay produced in the UK.
Whenever you hold a magazine in your hands, the paper that's used is the outcome of all sorts of price negotiations, and the texture is achieved by expert consideration of the proportions of the 'ingredients'.

Perhaps it's a bit tedious, but I think people these days do get slightly divorced from the technical printing aspects of creating a publication, because it's all done electronically, whereas in ye olden days, instead of sending it down the wire, you had to drive to the printers and deliver it. So you'd get to see the presses in action, the mechanics of your publication being created on a mass scale. For anyone who loves the magazine format, it's worth beholding their 'birth' by these mighty machines, if you get the chance to stand and watch.
 
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WHAT’S GOING ON AT ELLE?

There are certainly lots of changes going on in the hallways of Elle. On the heels of the departures of Carol Smith and, last week, Brent Allen, vice president of brand development (who was named associate publisher, marketing, at Marie Claire), the title is losing another high-level staffer, this time on the editorial side. WWD has learned managing editor Sara E. Culley is leaving the Hachette Filipacchi-owned magazine to become senior managing editor at Women’s Health.

All of this comes at a sensitive moment for Elle, which has been operating without a permanent publisher or business chief since Smith, its senior vice president and chief brand officer, was tapped early last month by rival Condé Nast to head a food group.

Add to Elle’s list of challenges the fact that, according to sources, the search for a new publisher has been slow going and has proven very difficult. (As reported by WWD, the magazine decided to divide Smith’s role into two jobs — a publisher and a chief brand officer, whose role evidently is to obliterate that pesky old divide between church and state.) Though Condé Nast Traveler associate publisher William Li was initially believed to be a top candidate for the publisher’s position, he is said to have turned down the magazine’s offer. Elle is keen to fill that slot before the branding one. And sources point to this as a major sticking point, since a publisher presumably would want to know who his or her boss would be before accepting the job. Not surprisingly, another front-runner has yet to surface, and a spokeswoman for Elle confirmed no decision on the publisher’s job has been made.

wwd.com
 
source | wwd.com

DON’T BREAK OUT THE BUBBLY JUST YET: Fashion magazines are still in recovery mode, but things are looking up: most titles posted an increase in ad pages during the first half of 2010 — that is, compared with the dregs of 2009 and the numbers are still far off the good ole days of 2008. According to figures published by Media Industry Newsletter, the biggest winner in the first half was People StyleWatch, the mass market shopping title from Time Inc., where ad pages rose 60 percent to 398 pages (but this is still a fraction of the pages of larger titles like Vogue, InStyle and Elle).

Marie Claire also posted a strong first half, up almost 22 percent to 584 pages; Harper’s Bazaar was up 17 percent to 755 pages, and Cosmopolitan and InStyle were both up about 10 percent, to 702 pages and 1,103 pages, respectively. Meanwhile, Vogue was up almost 8 percent to 987 pages and Allure posted a 7 percent rise during the first half, to 536 pages. Elle reported a 5 percent rise in ad paging to 939 pages, and Lucky was up almost 2 percent to 516 pages.

Not everything was rosy, though. Glamour posted a flat first half, with 688 pages, while those luxury dependents, Town & Country and W, represented the only two titles that continued to fall in advertising, with the former down more than 4 percent to 409 pages, and W sliding almost 14 percent to 423 pages. So the new editors in chiefs at both titles have their work cut out for them.
 
source | wwd.com

FROM 12 TO 11: Harper’s Bazaar’s ad pages may have been up in the first half, but editor in chief Glenda Bailey and publisher Valerie Salembier are still clearly looking for ways to cut costs. And they’ve gone for one of the easiest methods around: trim frequency. Bazaar will combine the June and July issues this year for the first time, a spokeswoman confirmed. The title’s “Runway Report” will be back again in September and sold separately on newsstands.
 
InStyle Beats Vogue in Ad Pages: But What Does That Really Mean?

By Lauren Sherman

It’s been a good year for fashion magazines, at least in terms of advertising pages. InStyle, Vogue and Elle have all seen significant increases in pages over the last six months. The Time Inc. title has thus far accrued 1,103.21 ad pages, a 10% increase from the same period in 2009, while Conde Nast’s stalwart saw pages jump during the same time by 8% to 987.05. Elle enjoyed a 5% increase to 939.

By the way, that’s all according to MIN, an industry publication.

This is a big win for InStyle…kind of. While more ad pages might gauge the health of a magazine, it doesn’t necessarily mean it’s making more money. Vogue will argue that, unlike its competitors, it doesn’t discount ads (although it does sell them in a bundle with Teen Vogue and sometimes Lucky or Glamour, so advertisers do get “added value.”)

Another interesting point: InStyle’s ads are arguably more mass market than Vogue’s. Elle is somewhere in the middle. But does that really matter? Big corporations like Johnson & Johnson presumably have more money to spend on advertising than luxury brands, even those owned by conglomerates like LVMH.

All in all, it’s hard to really measure who comes out on top in this instance. However, we know it’s not W, which saw a 14% decrease in pages to 423. Good luck with that, Mr. Tonchi.
fashionista
 
GQ, one of the first magazine titles to appear on the iPad, has sold 365 copies of its December 2009 Men of the Year issue, according to publisher Pete Hunsinger.

The issue was priced at $2.99 per download — $2 less than the newsstand price — for a grand total of $1,091.35 in sales. Somewhat surprisingly, GQ appears to be pleased with this figure.

“This costs us nothing extra: no printing or postage,” says Hunsinger. “Everything is profit, and I look forward to the time when iPad issue sales become a major component to our circulation.”
It seems developer fees did not enter into his cost calculations.

On the bright side, sales for the iPhone and iPod touch version is steadily increasing, according to the iTunes store [iTunes link]. GQ’s latest May 2010 issue for the iPhone and iPod touch is the best-selling in the store right now, suggesting that the magazine is developing a solid base of repeat buyers.

It’s hard to put these numbers in context, as little data about iPad app sales has been released thus far. A month ago, ABC announced that its app has been downloaded more than 200,000 times, and earlier this month Rupert Murdoch revealed that the WSJ app has roughly 64,000 subscribers. Both of these aps, however, are free.

Although we need more data to make an accurate assessment, one thing seems certain — the iPad is not the savior certain major publishers had hoped it would be — at least not yet. Nevertheless, it may yet prove a profitable distribution platform for magazines in addition to other platforms, like Facebook.

Publisher Condé Nast is forging ahead with the development of iPad versions of its other popular titles. Vanity Fair appeared in the iTunes catalog this week, and WIRED is slated to launch this summer.
mashable.com
 
When will we know what the best selling issues of 2009 are? When does that article get released?
 
source | wwd.com

DIVING IN: Magazines and newspapers have been all over the iPad — but so far fashion titles have been slow to get involved. Not any more: InStyle plans to launch on the device before yearend, probably around the same time as a slew of its competitors. Managing editor Ariel Foxman, who hosted an up-front party with ICM on Tuesday in New York’s SoHo, revealed the news as he mingled with Emmy Rossum, Vanessa Williams, Julie Bowen and Katrina Bowden. But there was more to his mood as he accepted congratulations for the magazine’s strong first half of advertising (InStyle beat all other fashion titles during the period — no doubt eliciting a few choice, and unrepeatable, words in the hallways of Vogue and Elle).
 
From Jezebel.com

Read the entire article here

Magazine editors can't find cover stars to drive newsstand sales, because celebrity is dead. True, unless you're talking about Taylor Swift, Miley Cyrus, or Twilight. Move over, Julia Roberts.

Fashion campaigns have been nearly devoid of celebrities, The Daily Beast's Jacob Bernstein points out, after years where they were elbowing out models. (The current experiment in non-celebrity, non-professional model advertising — Tod's, Club Monaco — is one cheap alternative.) And the magazine world is also looking past the usual starlet material.
Says one magazine industry veteran: "The younger celebrities today are not Brad Pitts or George Clooneys. Scarlett Johansson is a very good actress, but is she going to sell magazines to the same degree as Julia Roberts once did? The reason Sarah Jessica Parker is on the cover of Vogue and Marie Claire and everywhere else is because there are so few other people that can sell."
Well, sort of. When it comes to selling magazines and the younger generation, I'd argue that Glamour editor Cindi Leive gets closer to the mark:
I think what you're seeing in the magazine world is a certain amount of fatigue with the same old, same old faces. One reason we had a nice sale with Taylor Swift was that you hadn't seen her on a million magazine covers before and there was actually the hope that ‘Oh my God! I might actually learn something new.' I think taking risks is serving people well right now."
That would be the Taylor Swift who was Glamour's biggest seller last year, with 740,000 copies on the newsstand, according to the Audit Bureau Of Circulations. Another top seller: Miley Cyrus, who also did extremely well for Elle. Leighton Meester and the Twilight actors were a boon to Harper's Bazaar. Remember Lauren Conrad? She was one of Cosmo's biggest sellers of last year. Amanda Bynes was such a success on the cover of the January 2009 Cosmo that she got a repeat in January 2010.


In other words, there may be celebrities who make more sense for the fashion industry (of which these magazines are an arm), but the stars with giant tween followers are actually moving product. This is also true with the occasionally symbiotic relationship magazines have with box office success. Bernstein points out,
Julia Roberts, Tom Cruise, and Mel Gibson's most recent projects have all been commercial disappointments. Same for Angelina Jolie. In the last five years, only two of her films have crossed the $100 million mark, and the biggest hit of those was Mr. and Mrs. Smith, which seemed to play off of her reported affair with Brad Pitt, who was married to Jennifer Aniston when the film was made.
 
America’s Next Top Model Winner Will Cover Vogue Italia

This morning at the CW’s up-fronts–a kind of trade show where television networks attempt to woo advertisers with hopes of snazzy fall programming–America’s Next top Model judge Jay Manuel revealed that next season’s winner will land a cover of Vogue Italia. That’s in lieu of the back cover of Seventeen.
All we can say is: Wowwowweewa!?*@&#$*@#
Actually, that’s not true. Here’s what else we can say:
This is clearly the work of Mr. André Leon Talley, Vogue editor extraordinaire and Top Model judge. And it indicates that the contestants will prove a bit more “polished” next year.
While the competition show has downgraded its title affiliation several times over the years (from Elle to ElleGIRL to Seventeen), we’re not sure that this trade-up actually matters to the greater audience.
The presence of ALT and Francesca Sozzani may impress industry insiders, but will the majority of Top Model followers really care? Or will it get new people to watch? We’re doubtful.

from fashionista

Do you guys believe this? I can't imagine Steven Meisel being told who to put on his cover.
 
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source | wwd.com

SUMMER’S OVER: Magazine editors are already looking beyond the Fourth of July to the covers of their August issues, which they no doubt hope will be fatter than in recent years and a harbinger of the thudding sound of even heavier September books. Titles so far understood to have lined up their August covers include Vanity Fair, which is said to have lured Angelina Jolie; Elle, with Drew Barrymore (back again after a successful cover last May); Lucky, with old reliable Ali Larter, and Marie Claire, which nabbed 16-year-old Dakota Fanning — a recent addition to the cover rotation.

Meanwhile, while one could argue it’s probably difficult to overhaul a magazine at cruising altitude, Stefano Tonchi has been doing just that since he took the reins at W magazine last month. The past several weeks have seen the Italian editor jetting to Milan, Paris and Cannes, while simultaneously filling out his senior staff and trying to figure out a way to turn W into the more general-interest lifestyle magazine he’s promised interviewers and, likely, skittish advertisers. And the first opportunity to judge his efforts will come with the title’s August issue, which sources say will feature Tonchi’s first cover pick — Jon Hamm and Rebecca Hall, co-stars in the Ben Affleck-directed fall crime drama “The Town.” Though the couple cover is oft-trod territory for W, the choice of a heady pair like Hamm and Hall — celebs brimming with indie cred (his from “Mad Men,” hers from theater and films such as “Vicky Cristina Barcelona”) and shorter on mass appeal — is not. (In fact, the duo would be more likely to turn up on the cover of Tonchi’s alma mater, T, which just featured Hall on its April 25 women’s summer fashion issue.)
 
All I really want to know is if Marie-Amelie Sauve is in and Alex White is out...I seriously hope Sauve isn't leaving Vogue for this...unless it turns out that she'll be working with photographers of her caliber.
 
^^ since when is Joseph Logan associated with French Vogue? I don't remember...
 
Countess Esterhazy Pens Final Dispatch

For anyone who worked at Women's Wear Daily or its sister publication, W, in the last 13 years, as this reporter did, the name John Fairchild hung over the staff like a well-mannered specter.

Mr. Fairchild retired as chairman and editorial director of Fairchild Publications in the spring of 1997, but he continued to write a satirical social column under the pseudonym Countess Louise J. Esterhazy.

In March, Stefano Tonchi, the former editor of T, was named editor-in-chief of W. Patrick McCarthy, Mr. Fairchild's successor and the de facto editor of W, stepped down. Rather unexpectedly—even to Mr. Fairchild, it seems—in the midst of that changing of the guard, a decision was made and the June issue on newsstands now marks the much-loved Countess Esterhazy's final dispatch.

An example of one of Countess Esterhazy's cutting aphorisms, from as far back as 1995: "Donald Trump…can make even a Savile Row suit look cheap."

"I didn't know it was ending," Mr. Fairchild, who is now 83, said, when caught by phone at his Manhattan apartment. "They never even asked me for a final column."

Mr. Fairchild explained how he developed the character. "She was Austrian nobility. It started when I was skiing in Switzerland. This was a long, long time ago. Whenever it was, that's when it started. I was going to do a column, and I didn't want it to have my name on it. Have you seen the movie 'Ship of Fools?' Anyway, I used to ski with Géza Korvin in Closters. He played the captain. He was Austrian, and so I said, 'Can you give me a name? Some funny name of royal blood of your country.' And he said, 'Yeah, Esterhazy.' I added Louise. God knows why."

"The first time we had any reaction to it, I was writing about Las Hadas resort in Mexico. As a joke, I said someone was bitten by an iguana. Iguanas don't attack people! But I got in big trouble with one of the rich Greek shipowners who owned the resort. He said he would sue me. Of course he didn't. I had lunch with him instead."

"I loved doing the column," Mr. Fairchild said. "You know, it got more mail than anything in the magazine. It's ironical, but even in the last issue there are two letters in there to Louise. I don't think most people knew it was me. I used to get invitations to parties for her all the time."
"I don't know what's happened, really," he went on. "I know there's a new editor, and he's very talented. I got paid to write it and that's what I'll miss the most."

Mr. Fairchild splits his time between New York; Gstaad, Switzerland and Nantucket, Mass., where he'll be as of mid-June.

Like his father, he said, he retired at 70, and, "I've never been to another fashion show. I never missed it."

As for Countess Esterhazy, "She's not retiring," Mr. Fairchild said. "That's beyond my control. She's available."
wsj.com
 
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Here's the answer to my question...

SPEAKING OF WACKERMANN’S WARD…: Over at W, the business operations of which also fall under Bill Wackermann’s purview, new editor in chief Stefano Tonchi has hired Joseph Logan, most recently design director at Artforum and senior art director at Baron & Baron, to be the magazine’s new design director, effective Tuesday. Logan, 38, succeeds W’s longtime group design director, Edward Leida, who was shown the door soon after Tonchi came into power. Logan — who has also worked at French Vogue and Arena Homme Plus — will report to W’s new creative director, Jody Quon. In a conversation with Tonchi and Quon, Logan told WWD, “What we’ve talked about is making something extremely refined and something in line with, or maybe built around, the interests of the first W that existed under Mr. Fairchild.

“I think we want to make [the design] bold and yet have a kind of classic beauty to it,” Logan added. “But it’s really going to be about the imagery. I think the design is always in the service of the imagery.” As for the white space that has defined W’s look and historically dominated the front of book, Logan said: “I think there will be white space when it works, but it really depends on the imagery.”

Added Quon: “I think the front will probably be a place where we’ll flex our muscles a little more than they’ve done so in the past.” While Tonchi is putting his mark on the August issue (among other things, he selected the cover stars, Jon Hamm and Rebecca Hall), Quon and Logan will be starting in on the September issue, which will be Tonchi’s first full effort. No pressure or anything.

— N.A.

wwd.com
 
Here's part of a personal account of what life was like after she stopped being an editor. It's a long article, the link to the full story is below (observer.co.uk:(

Dominique Browning: How I lost my job and found myself

For more than a decade, she was a high-flying magazine editor. Then one Monday, the title closed and she found herself out of a job, single and feeling anxious, listless, and strangely hungry. One woman's honest and provocative account of building a new life from the ruins

Dominique-Browning-006.jpg


For 12 years, I had a job I loved as the editor of the US edition of House & Garden, a magazine that celebrated the good life. It would be an understatement to describe this enterprise as part of a company not primarily in the business of philosophical, spiritual or moral soul-searching. Condé Nast's roots and branches are in the material world. The good life at House & Garden generally meant cultivating your own backyard rather than being involved in the body politic. I pushed against the limits of making a so-called shelter magazine by publishing articles about spiritual issues and the environment, but I always felt clear-eyed about how things stood. I spent more than a decade in the belly of the beast of muchness and more. That was a precarious place to be when the property bubble began to leak.

The folding of the magazine was ruthless. Without warning, our world collapsed. No one was expecting it: I came to work on a Monday in 2007, went to the corporate offices for a meeting, had a different meeting, got the news and was told to have everything packed up by Friday. Security guards were immediately posted by the doors.

In the four days we were given to pack up our belongings, I was overwhelmed with an urge to hoard, and began stuffing every House & Garden paper bag, pencil and notepad I could get my hands on into a box, so that I'd never run out of office supplies. I salvaged enough to run a small corporation from my kitchen. I didn't think of this as stealing. I thought of it as a twisted sort of recycling – part of the strange new economy of severance into which I had been thrown. Everything with our logo on it was destined for the dustbin anyway.

Even so, a few weeks later I realised I had some gaping holes in the inventory: I had no ink for my printer. The pages of my résumé looked faded, ghostly. You would think I was fading, too, but I wasn't. I was getting plump. All I could think about was food. This was the beginning of being hungry all the time. My addled brain interpreted the white noise of unemployment to mean that I was going into hibernation, that I had to lay in reserves. After the closing of the magazine was announced, my public line was, "We had a great run, we took a magazine from zero to 950,000 readers in 10 years, fabulous renewals, we won awards, published six books…" I was a zombie. "Great run… 950,000 readers… six books…"

But privately, I was in a whiplashing tailspin. My nightmare had finally come true. For years, I had a profound dread of unemployment that went way beyond worrying about how to pay the bills. I would like to say that this was because of the insecure nature of magazine publishing, but my anxiety had more to do with my own neuroses – though I didn't think of it that way. Work had become the scaffolding of my life. It was what I counted on. It held up the floor of my moods, kept the facade intact. I always worried that if I didn't have work, I would sink into abject torpor.

I have always had a job. I have always supported myself. Everything I own I purchased with money that I earnt. I worked hard. For the 35 years I've been an adult, I have had an office to go to and a time to show up there. I've always had a place to be, existential gravitas intended. Without work, who was I? I do not mean that my title defined me. What did define me was the simple act of working. The loss of my job triggered a cascade of self-doubt and depression. I felt like a failure. Not that the magazine had failed – that I had.

The thing about running a magazine is that there is always too much to do. I liked not being in control of my time – I was always busy. I didn't want time to think things over, things like feeling guilty about spending more time with my office mates than with my children; feeling sad that those children were leaving home; or feeling disappointed in love or frightened by terrible illness. Everything else, in other words. The demands of my job kept me distracted. Besides, no one else was paying my mortgage. With the closing of the magazine, my beloved family of colleagues was obliterated. And so was the structure of my life.

Within hours of leaving my office for the last time, I could hardly bring myself to care about my reputation. I just wanted to eat. I began calling every employed person I knew to take me to lunch. I wanted to fill my calendar with the promise of meals. Only food could ward off the rage, despair and raw fear that overcame me.

How had I managed to get this far in my life completely unprepared for the unknown – which I had always known was out there?
http://www.guardian.co.uk/money/2010/may/30/dominique-browning-life-after-redundancy
 

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