The Business of Magazines

Burda will test InStyle Men in Germany

The women's magazine Instyle will have a men's version starting on September 18, 2010 in tne name Instyle Men.

The magazine will be sold packed with Instyle for its first issue. From November on, the magazine should be sold independently.

InStyle Men will have about 140 pages and contains mainly topics about fashion and style with tips for beauty and outgoing.

Circulation: 200 000 copies.

source: my translate from mam.ihned.cz

More info in german:
http://kress.de/tagesdienst/detail/beitrag/105247-fussball-holzkohle-mode-burda-testet-instyle-men.html

source: kress.de
 
Newsstand is Down - But Does it Matter?
All things considered, industry observers expected fashion and lifestyle titles to have an easier go at the newsstand during the first half of this year. They weren’t anticipating large gains, but rather a “flat to slightly up” outcome. After all, the dispute between publishers and two major wholesalers, Source Interlink and Anderson News, has generally been resolved (they wanted to increase their per-copy surcharge for publishers and filed antitrust lawsuits against some, with Anderson’s recently being thrown out of court and Source Interlink reaching out-of-court settlements). And while not booming, retailers and fashion firms are seeing better sales after the disaster that was 2008 and 2009, meaning consumers might start buying magazines again to check out the merch.

No such luck.

With only a few exceptions, fashion titles saw yet further declines on newsstand in the first six months of the year, placing further pressure on them to hit their rate bases as publishers scurry to ferret out every ad dollar they can. “I think it’s fair to say media buyers will be paying more attention and wanting some answers,” said Jack Hanrahan, publisher of industry newsletter CircMatters, of the first-half figures.

With the exception of Essence at Time Inc., all fashion titles that posted double-digit declines in single-copy sales fell under Condé Nast’s umbrella. Teen Vogue fell 30 percent, W declined 22 percent, Allure was down 19 percent, Lucky declined almost 17 percent and Vogue posted an almost 15 percent slide. Bob Sauerberg, president at Condé Nast, said he expected this to happen, as the company has been pulling copies out of the marketplace and evaluating its distribution practices for more efficiency.

“We did some things on purpose,” he added, noting that overall, total circulation at all titles was up almost 1 percent. Also, 10 magazines had price increases during the period. Sauerberg said a key part of the company’s new consumer-marketing-driven strategy is to focus on subscriptions, which now account for 86 percent of the business, thanks to the Web.

Which raises the question as to how important newsstand sales are anymore anyway. While once a key barometer of a magazine’s true popularity with readers, given the “buy a box of Cracker Jack and get two years of this magazine free” mentality, newsstand now has become less vital as publishers have mended their discounting ways (or at least are hoping to).

“For years, we experienced newsstand decline while seeing subscriptions grow,” said Robin Steinberg, senior vice president and director of print investment and activation at MediaVest, adding that the slide in single-copy sales is not “new news.” Steinberg pointed to price increases — wholesaler consolidation forcing increased prices at retail — economic conditions and publishers providing content for free online as key factors in the decline at newsstand. She called the model of judging newsstand as the barometer of vitality “archaic and outdated,” and said new metrics need to be developed to measure consumer engagement.

Without new measures from which to draw, though, many still try to glean something from the monthly cover game. Hanrahan pointed to Women’s Health and People StyleWatch as titles to watch, with the Rodale magazine up 10 percent to 367,725 in single-copy sales (although its male counterpart, Men’s Health, must be suffering since it declined to provide newsstand data). StyleWatch rose 15 percent to 572,104. “Our June-July issue (with Lauren Conrad on the cover) was our bestseller — with 621,000 copies sold on the newsstand,” said People StyleWatch editor Susan Kaufman.

Over at Meredith, More was up 16 percent at newsstand, and editor in chief Lesley Jane Seymour attributed this to a change in cover strategy. “We’ve opened the door and taken away that over-40 rubric,” she said. “We’ve walked away from traditional covers.” Earlier this year, it was rumored the magazine asked Kim Cattrall to pose with a cougar (she refused, because of the connotation associated between the cat and women of a certain age). Meanwhile, over at Hearst, it was a good first half for Harper’s Bazaar, which pointed to its strong cover subject lineup for the first half as leading to a 10 percent rise, to 160,100, at the newsstand. The March issue with Kate Moss was the leader, said a spokeswoman.

And there is a new, emerging player in the newsstand game this year — the iPad. Over at Wired, the June issue launched on Apple’s much-ballyhooed device and raked in 103,000 in single-copy sales — and that’s not counting the traditional newsstand. Wired’s newsstand during the half jumped 15 percent to 93,908. It was the biggest circulation gain for any Condé title during the period (and, incidentally, Wired was the top ad gainer for the first half, up more than 20 percent). “The iPad expands the idea of the newsstand,” said editor in chief Chris Anderson. “It used to be something you passed on the street, but now magazines can meet you where you live, even if you’re not a subscriber.”

source | wwd.com
 
George Lois on the iPad

"It's okay, I guess," he said. "But magazines will never die because there is a visceral feeling of having that thing in your hands and turning the pages. It's so different on the screen. It's the difference between looking at a woman and having sex with her."
source | nyobserver

Love that man :heart:
 
I definitely agree with the sentiment, but I think that this is also a generational thing, there is a generation of consumers emerging who are used to receiving the bulk of their content via an electronic device with a screen and as such a new form of visceral feeling is being created that group. I agree that print will not go the way of the dinosaur any time soon, but at the same time the "looking at a woman and having sex with her" analogy while valid is also telling when you realize the impact that the internet has had on sex.
 
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I agree, agee. Generation Y-er here, 6-year magazine veteran, and yet I am ready to wholeheartedly embrace digital media. Especially when I think of the impact print is taking ecologically and economically (ie space in my apartment). But I suppose this is for another thread...
 
Especially when I think of the impact print is taking ecologically and economically (ie space in my apartment). But I suppose this is for another thread...

:lol: That would actually be a very interesting thread. Because there are many problems that digital media brings along that I don't think many people have considered. For example, electronic waste.

I don't know, I'm Generation Y yet I am fairly old fashioned. I like physical books and magazines.
 
:lol: That would actually be a very interesting thread. Because there are many problems that digital media brings along that I don't think many people have considered. For example, electronic waste.

Exactly, and it's quite difficult for most people to repurpose their electrical items, because they don't know the first thing about how they work - or how to to construct or adapt products - so there goes the idea of taking them apart and reusing the components for something else, like you can with paper or fabrics.

And even if a consumer is assiduous enough to seek out one of those technology recycling schemes, once you hand an item over, what really happens with it? How much gets put to proper use, and how much simply gets carted to a rubbish dump somewhere else?

People will buy a celebrity-endorsed T-shirt made of eco-bamboo, but tap away on their phones and laptops without a second thought for what's going on there, in the chain of supply and disposal. It's an enormous blind spot in modern consumption, where people are still at the stage of not wanting to think about it - so caught up with the idea of staying current with technology that they're willing to look past the aspect of waste.
 
Have you guys seen the NEW W?! ITS HORRIBLE!!! I'M GONNA CRY! Like seriously I'm very upset about the logo! I went to the W website and they still have the old logo I was so happy but they'll probably change it tomorrow... :(
 
Cosmopolitan to launch free spin-off mag for students in UK

Glossy magazine Cosmopolitan is to launch a free spin-off title later this year aimed at female university students.

The National Magazine Company, publisher of the monthly paid-for title, is planning to print 250,000 copies of Cosmo on Campus for distribution at 65 universities across the UK when the new term starts in October.

The publisher claims the launch is part of a long-term strategy which will see it produce a new issue of the spin-off each quarter in 2011.

Initially these magazines will be distributed through its “Brand Ambassador” universities, which include London Met, Leeds and Leeds Met, Manchester and Manchester Met and Edinburgh.

Natmag said the new title, which is aimed at 18-21 year-olds, will be a 56-page magazine printed on 'improved newsprint'.

In addition, the magazine will be complemented by publication of a digital version by Cosmooncampus.co.uk, a new channel to be added to the existing Cosmopolitan.co.uk website.

Louise Court, editor of Cosmopolitan, said: "We wanted to produce a free tailored version of Cosmopolitan that talks directly to the student population and gives them all the honest and intimate advice they can get from the monthly magazine, but tailored specifically to their lifestyle as an introduction to the paid-for glossy."

Cosmopolitan, which is the second biggest women's lifestyle glossy behind Glamour, underwent a redesign last month overseen by new creative director Stuart Selner.

According to the latest figures available from the Audit Bureau of Circulations, Cosmopolitan sold an average of 430,353 copies each month in the second half of last year, down 4.5 per cent year on year. It sells for £3.40 an issue.

New circulation data for the first six months of 2010 will be made public by the ABC next week.

source: pressgazette.co.uk

Cosmopolitan launches spin-off student magazine in UK

The National Magazine Company is launching an ad-funded free spin-off of Cosmopolitan magazine, Cosmo on Campus, dedicated to students.

The magazine will target 18- to 21-year-olds across 65 universities in the UK, including London Met, Leeds, Leeds Met, Manchester and Edinburgh, distributed by hand on campus.

The 56-page magazine will launch in October with a print run of 250,000. NatMag is aiming to make the brand extension quarterly in 2011. Cosmo on Campus will include sections such as Confessions, Man Manual and High Street Hit List.

A microsite will launch within the Cosmopolitan website with additional features including offers, competitions and community links. The brand extension will also exist on Cosmopolitan’s Facebook page and through its Twitter Feed.

Louise Court, editor of Cosmopolitan, said: "We wanted to produce a free tailored version of Cosmopolitan that talks directly to the student population and gives them all the honest and intimate advice they can get from the monthly magazine, but tailored specifically to their lifestyle as an introduction to the paid-for glossy."

source: mediaweek.co.uk
 
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source | nyobserver

The Savior of Condé Nast: Scott Dadich Is The New It Boy of the Magazine World
Someday, when they tell the story of how digital magazines saved Conde Nast, it will begin in San Francisco's Caffé Centro sometime in May 2009.
It was there that Wired creative director Scott Dadich asked Wired editor Chris Anderson to meet him to discuss the creation of a prototype for a new digital tablet. Mr. Dadich knew the iPhone screen was far too small to re-create the magazine experience, but it got him thinking about a Minority Report-like touchscreen that could work. Mr. Dadich took out a cocktail napkin and drew an illustration of what Wired could look like on a 13-inch tablet screen.​
The sketch worked. Mr. Dadich got the go-ahead to make a prototype (which they dubbed, cutely, Project 13), and skimmed a few thousand dollars off his own budget to make a five-minute video about the project. The video was a hit with Condé executives, who asked other editors and publishers to watch it. It was used to forge an alliance between Condé Nast and Adobe.
And about a year later, the cocktail napkin would take the form of the Wired iPad app, the first bona fide success in publishing's transition to digital apps. It has sold 102,884 copies since it hit the market, an impressive feat for a company that had been floundering digitally. Only weeks after its release, Condé Nast executives said they were changing the company's business model, appointing Bob Sauerberg as the company's new president to focus on new revenue streams, much of it from the digital experience. And sensing that they might be ahead of the competition when it comes to turning magazines into apps, executives at the company gave Mr. Dadich, all of 34 years old, an office at 4 Times Square, a new title-executive director of digital magazine development — to add to his role at Wired, and the assignment to help nearly every magazine in Condé's stable create a digital edition.​
One result is that Mr. Dadich, who has lived most of his life in Texas, has skyrocketed into an overnight star in the Si Newhouse empire. He is — to put it in terms that have described many before him — the new It Boy of publishing. Having already established his print magazine design chops — Evan Smith, the editor of the Texas Tribune and Mr. Dadich's former boss at Texas Monthly, said he is regarded as "some sort of combination of Jesus and Pele" in the print magazine design world — it now seems like he is on the road to doing something much more significant.​
His job, on paper, is to help editors at magazines like The New Yorker and Vogue manage their time and brainstorm ideas about what works on the iPad. But at a time when Newsweek goes for $1 and the industry is in desperate need for heroes, Mr. Dadich is widely seen as the guy who can bridge magazine design and technology, and bring the business one step closer to salvation.​
"He's one of those clever people who can take history and the future and merge them into the present," said Platon, a New Yorker photographer who has won two consecutive National Magazine Awards for photo portfolios and credits Mr. Dadich for giving him his start in America. "People have done that before in other genres. Miles Davis did it, Frank Lloyd Wright did that. And I think Scott has the capacity to do that."​
"With a talent like Scott, magazines will never die," said George Lois, the legendary former art director of Esquire.​
"He just has it," said David Remnick, the editor of The New Yorker.​
"He will be the spark that ignites a conflagration," said Tom Wallace, Condé Nast's editorial director.
MR. DADICH GOT his first big break at Texas Monthly. Ten years ago, Evan Smith was coming in as editor and needed to find a new art director. Mr. Smith had little reason to consider Mr. Dadich, who was then just freshly out of school and in the job of associate art director for a mere nine months. He had virtually no previous experience. The art director position at Texas Monthly had been held by legends like Fred Woodward and DJ Stout. But when Mr. Smith met Mr. Dadich, he knew there was something unique about him. "I had an intuition," said Mr. Smith. "He had a combination of charisma and seriousness of purpose and a bigness about his ambition. You could see from talking to him for a very short period of time he had a plan — he had a plan for himself, and he had a plan for you."​
Mr. Smith had a lot on the line. Every magazine editor ties his early fate to the art director. Mr. Smith conducted a national search, and there were plenty of candidates, but he couldn't get Mr. Dadich out of his head. So Mr. Smith called off the job search and decided to make a go of it with the 24-year-old. The business-side people down the hallway cringed at this prospect. "I think in every profession there are people who are born with certain skills and a degree of interests that just propel them forward like a rocket booster," said Mr. Smith.​
Quickly, Mr. Smith's leap of faith was well rewarded, and Mr. Dadich's tenure as art director became almost as celebrated as his predecessors.​
Wired had heard about him, and after several rounds of interviews, the magazine snagged him in 2006 to become its creative director. He became the first person ever to win both the National Magazine Award for Design and the Society of Publication Designers Magazine of the Year award three consecutive years, in 2008, 2009 and 2010. George Lois said that when you line up Mr. Dadich with the all-time-great magazine designers, "he's now joining the club."​
But being a design guy for a print product was hardly where Mr. Dadich wanted to stop. "He has business skills, organizational skills, technical skills," said Mr. Anderson, Wired's editor. "This is a guy who can have a deep conversation about Objective-C architecture with one guy, a deep conversation about typography with another and a deep conversation about business models and distribution strategies with another."​
"He always demonstrated to me an interest in the magazine from the 360-degree perspective that most art directors don't have," said Mr. Smith. "He cared about the business side, he cared about circulation, he cared about ad sales, he cared about everything, the whole thing."

IT WAS THE SECOND DAY in Mr. Dadich's new seventh-floor office at 4 Times Square, and the space was entirely empty, except for George Lois' MoMA Esquire book, an iPad and a document on his desk that was addressed to Condé Nast executives about the Wired tablet and labeled HIGHLY CONFIDENTIAL. He was wearing a perfectly tailored blazer ("You gotta write all about his style!" said Cindi Leive, the Glamour editor), and he has perfect posture, well-groomed sideburns and slicked-back hair with a couple strands inadvertently straggling out, like Alfalfa. He speaks clearly and deliberately in a dry monotone, and the Lubbock native seems to somehow shed any trace of a Texas drawl ("I hide it pretty well," he said).​
"I believe in the power of technology to upend an industry," Mr. Dadich said. "We see that every day at Wired. We watch how technology radically alters landscapes.​
"The only reason magazine design looks the way it does is because it's the literal, physical limitations of two pieces of paper," he said.​
 
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....

"With this," he said, gesturing to an iPad sitting on a couch, "we wiped the slate clean. We have one pane. We have these many pixels. We have this proportion. How are we going to use it and how are we going to tell a story?"​
The iPad happens to be the first of these devices. But as more tablet devices pop up on the landscape, it will become unwieldy to reassign the iPad work to outsiders. Today, he has no way to leverage the skills of, say, his art director in a digital environment since it requires two different skill sets with two different programs.​
In Mr. Dadich's ideal, it will work like this: A design editor will open up his computer screen and there will be four images down the right-hand side. Two will be dedicated to tablet devices; another is for the printed product; the last is for a mobile device. The design director will lay out a page unique to each medium. If you're a story editor or a copy editor, you'll make a change once, and it will show up in every version.​
Condé Nast's partnership with Adobe will allow magazine makers to use the same set of Adobe tools — Creative Suite, which makes InDesign — for both the printed version and the iPad.
This may be Mr. Dadich's dream, but it's not his alone. Adobe and Apple have been warring for years. In anticipation of the iPad release, Adobe had been preparing software that would essentially convert Condé Nast's content into an iPad and iPhone application. Weeks before the iPad was released, Apple said it wouldn't allow cross-compilers, and said that companies like Adobe had to build everything using Apple's own native software kit.​
The people at Adobe and Wired engineered a quick-fix solution. They decided to do everything they normally do in Adobe's Creative Suite package, and then simply use pictures of them — PNG files — for the app while keeping little holes open for interactive elements. The Wired app was a ridiculously large file for this reason, and it takes a long time to download. This is something Mr. Dadich and Condé Nast will have to iron out if they want this thing to have real legs. But it was enough to fool consumers, and the success of the June launch was enough to convince people like Tom Wallace to go forward.​
There is no indication yet how the Wired app did in July. Condé Nast will not release the numbers — which is probably a good indication that it's selling poorly when compared to June — but at this point, people seem happy with the direction of things.​
Though three of the four magazines at Condé that have iPad apps have been developed by Condé Nast Digital, the Adobe projects are the most ambitious. Up next: The New Yorker. "I think Scott Dadich is going to play a serious role in developing the design of The New Yorker in print, on devices and on the Web," said Mr. Remnick, whose magazine is expected to have an October iPad launch. "And I invited him into that process because he precisely understands not only the design so well, but also is interested in making The New Yorker a better version of itself rather than an extension of Scott Dadich."
MR. DADICH NEVER was a big reader of magazines growing up. He was an arts kid in high school, briefly attended the University of Texas to study engineering, but transferred out and went back to his hometown of Lubbock to work in a bagel shop, where he drew the menu lettering and pictures of bagels and coffee cups on a blackboard. When a graphic designer saw his work, he scored a job at an ad agency. He enrolled in the design program at Texas Tech and did his ad agency job on the side to pay his way through college.​
His flyover roots have won him fans. "Listen, I love Scott," said Ms. Leive, the editor of Glamour. "I love and I think lots of other editors love his willingness to share what he knows."​
"He's this really nice, fun and amiable guy, and people wanna help him and bring him along," said Mr. Smith.​
Fine qualities! But they would mean nothing if he wasn't scary-smart, too. "You're talking about finding a way to make digital magazines in parallel with printed magazines without going crazy," said Mr. Anderson. "There are so many moving pieces with digital magazines. There are thousands of individual elements with portraits and landscapes and interactive elements and all that. You need to think like a spreadsheet to ensure that you get the product out the door."​
"The thing about the technology is, it is always the latest gimmick, the latest hot thing," said Platon, the photographer. "It's very seductive. For me, what makes Scott interesting is his respect for content. Of course, he does have this uncanny sensibility of embracing technology — not even what it is now, but what it will be. But he also has a deep understanding and respect for good design. I'm talking about history of design. That's where most technology goes wrong. The taste level is ****. It looks awful. There's no intellect behind it. There's no aesthetic behind it."​
Mr. Dadich, he said, somehow overcomes this, bridging tech and design. "That's why he's powerful," he said. "He has good taste. He has done his homework. He knows the history of design and art and it's enabling him to do something with the technology."​
"THIS IS OUR future, it's a very big part of our future and it's in our immediate future," said Mr. Wallace.
He was talking about digital magazines and how they would play a "major role" at Condé Nast and the rest of the magazine industry. "We're at the beginning of what I think is going to be just a monumental creative burst for this industry," he continued. "And Scott is the guy who is there at the beginning of this. He's helping to birth it — there's no question about that."​
He said that Mr. Dadich's role, for now, is to instruct everyone on the lessons he learned from the Adobe experience. Mr. Wallace emphasized that the job is temporary, as Mr. Dadich helps everyone else get up to speed. Then, each magazine will go on its merry way and return to competing directly against its corporate siblings. From there, he wants Mr. Dadich to have a big role in the company to figure out ... well, whatever.​
But what does Mr. Dadich want? "I'm happiest when I'm creating," he said. "And I would love to be an editor; I would love to take all of what I'm learning now and apply that specifically to something."​
"There will be a point when I will want to go and create content in this model," he continued, "and assimilate all the lessons I've learned in this process into a physical product — maybe it's an iPad-only magazine, maybe it's a launch."​
Whether he's right or wrong, he's a believer. "We're only just starting. The opportunities for connection and engagement are so high. The ability to bring in all those different kinds of experiences and all those different kinds of people who maybe don't think of paper magazines, or who think of the connection that happens when you find a brand you love."​
 
source | wwd.com

I-D’S NEW EDITOR: London style magazine i-D has named Holly Shackleton as its new editor. Shackleton succeeds Ben Reardon, whose appointment as editor of GQ Style — the men’s fashion biannual published by British GQ — was revealed last week. “I’m excited to further develop i-D’s position at the forefront of the style press,” said Shackleton. The title celebrates its 30th anniversary with its pre-fall issue, which goes on sale Aug. 12, and later this year will publish a book, in collaboration with Taschen, called “30 Years of i-D Covers.”

Reardon, meanwhile, will take up his editorship at GQ Style as of the beginning of September. He succeeds David Bradshaw, who launched the Condé Nast title in 2005.
 
A look at the age of American magazine cover girls (windsorstar.com:(

Over-40 actresses have real style, real staying power, real beauty

August 16, 2010

When the September issues of fashion magazines -- typically their biggest of the year, ad-wise -- hit newsstands this month, the three most prestigious ones will feature actresses in their 40s on the cover.

Vogue has booked Halle Berry, who turned 44 on Saturday; Harper's Bazaar will have 41-year-old Jennifer Aniston, promoting The Switch; and Elle has landed 42-year-old Julia Roberts, promoting her new film, Eat Pray Love.

Putting these actresses on the cover of arguably the most important issue of the year sends a message that though we live in a youth-obsessed culture, there's still something to be said for the enduring appeal of women who have been in the public eye for nearly 20 years.

Laura Brown, projects/features director at Harper's Bazaar, pointed out that the average reader of the magazine is in their late 30s -- and that the readers view women like Aniston as "aspirational."

"They're cool, fashionable, interesting, compelling -- they have something to say," Brown said. "I love that they've grown into their style. One of the things about getting older is you do grow into your sense of self. You don't look victim-y anymore."

Lesley Jane Seymour, editor of More magazine, which is targeted to women in their 40s and older, echoed that sentiment. "They're the ones with real style, real staying power, real beauty," said Seymour, who previously edited Marie Claire. "As the American population continues to grow older, everyone can relate better to a woman with a little wear on her tires."

Plus, she added, "Who is there with any kind of real style or longevity in their 30s or 20s right now? Britney Spears? Kim Kardashian? These are flashes in the pan. Many are shallow reality stars like Snooki. Style icon? Um, talk to me in a year. Frankly, it's here today, gone tomorrow. Lindsay Lohan? What's to look up to?"

The statistics for several magazines bear her out. The average age of Vogue cover models in the past year is 34.5; Harper's Bazaar, 32.5; Elle, 31.6; InStyle, 34.2; and W, 34.9. Harper's had the biggest range, putting 17-year-old Miley Cyrus on its February cover and 47-year-old Demi Moore out front in April. (Moore also graced the cover of the December issue of W; she is the oldest cover model for those five magazines.)

Data released Aug. 9 by the Audit Bureau of Circulations showed that single-copy sales of magazines dropped by 5.6 per cent in the most recent six-month period measured. So it's ever more important for editors to select cover models who will appeal to people buying mags at newsstands, grocery stores and airports, where, of course, they pay full price. And in that context, older women can seem a safer bet, appealing to a wider audience -- and a wider magazine-buying audience -- than, say, a younger reality show star, singer or actress.

Indeed, it might seem as if the Twilight films have taken over the zeitgeist, but those movies' 20-something stars don't come close to the star power of older actresses.

At 46, Sandra Bullock is now the highest-earning woman in Hollywood, according to Forbes; she made $56 million last year with The Proposal and The Blind Side. Rounding out the top five were two actresses in their 30s, Reese Witherspoon at No. 2 and Cameron Diaz at No. 3, and two in their 40s, Aniston (No. 4) and Sarah Jessica Parker (No. 5).

It remains to be seen whether Kristen Stewart can open a non-Twilight movie, but in the meantime, films starring the likes of Parker (Sex and the City 2), 49-year-old Julianne Moore and 52-year-old Annette Bening (both from The Kids Are All Right), 35-year-old Angelina Jolie (Salt) and 40-year-old Tina Fey (Date Night) were box office draws this summer.

Outside of Stewart, no actress in her 20s has held a significant role in a box office hit this summer. Megan Fox in Jonah Hex is the prime example of a 20-something struggling for audience.

Indeed, the age of a cover subject seems to show that older often can be better. On InStyle's covers, 40-year-old Gwen Stefani outsold 25-year-olds Scarlett Johansson and Leona Lewis (648,000, 579,000 and 610,000, respectively) -- and all three were outsold by Jennifer Lopez, who was 40 when she was on the cover in September and sold a whopping 853,000 copies (though September, as mentioned, usually is the biggest month).
But not every over-40 woman is a sure thing, of course. Whitney Houston, then 46, showed up on January's cover and sold a relatively paltry 408,000 copies.

At Elle, when Parker, then 44, was on the cover in December, she outsold Lopez on the cover from February (285,000 copies versus 161,000 copies on newsstands) and 20-year-old Stewart's June cover (207,000 copies). Vogue also had good luck with Parker, whose May cover sold nearly 325,000 copies on the newsstand. Parker outsold June's cover with 22-year-old Blake Lively on the cover (248,000) and December's with Cate Blanchett, then 40, out front.

"I will put anybody of any age on the cover," Bazaar's Brown said. "I never think of someone's age when I'm booking a cover."

Bazaar has been relatively steady on the newsstand, with its youngest cover model, Cyrus, barely outselling its oldest, Moore (126,000 versus 114,000 copies).

Elle editor-in-chief Robbie Myers likewise was adamant that a cover subject's age has no bearing on whether the magazine books her. "We don't look at a subject's age when we decide to put her on the cover," she said. "It's a question of a certain kind of chic, what the project is and how excited we think the buyer will be about reading about someone at a particular moment."

But it's perhaps not surprising that Myers chose Roberts, whose Eat Pray Love, which opened Friday, seems to speak to a certain recession-era mentality of self-discovery and authenticity. And Roberts herself has a carefully cultivated persona of keeping herself above the tabloid fray, putting her children first and choosing her projects carefully.

Jon Penn, a magazine consultant and president of the media and entertainment division of Penn, Schoen & Berland, who works with clients (including several from Conde Nast) to do market research on magazine covers, said it's not surprising that editors are choosing seemingly approachable, down-to-earth actresses like Roberts for their covers.

"In the post-recession era, consumer values have changed at the newsstand," Penn said. "Instead of seeking out escapism into the lives of over-the-top and often out-of-bounds celebrities, consumers are drawn to the authentic, down-to-earth and relatable. We are in a period of reflection where self-improvement, not self-indulgence, is a new language at the newsstand."

There's also less of a chance that a cover model of Aniston's or Roberts' ilk is going to end up scandalously in the tabloids (though Bullock probably would beg to differ). Brown noted that working with these types of actresses in many ways makes the magazine's job easier.

"They give you just enough for the magazine," Brown said. "They know how to conduct an interview. Sarah Jessica Parker would give you the impression that she would sit with you all day."
 
And Media Guardian comments on the most recent ABCs for UK magazines (guardian.co.uk:(

Conde Nast

Total average circulation per issue: 1,539,661, up 2.8% year on year

Star performers: Tatler up 1.6%, Vanity Fair up 0.7% (both year on year)

Disappointments: Easy Living down 5.5%, Conde Nast Traveller down 0.6% (both year on year)

They say: "This strong story, with every Condé Nast title gaining sales, demonstrates the resilience of quality magazines," said the Condé Nast managing director, Nicholas Coleridge. "As the market shows clear signs of a recovery, our glossy titles and cross-platform innovations position us perfectly for continued growth."

MediaGuardian.co.uk verdict: Total circulation boosted by the launch of the UK edition of Wired, which only hit its 50,000 target circulation with the help of a 10,000 free giveaway.
Hachette Filipacchi (UK)

Total average circulation per issue: 992,177, down 3.9% year on year

Star performers: Elle Decoration up 9.4%, Red up 5.2% (both year on year)

Disappointments: Sugar down 19.4%, All About Soap down 10.8%, Psychologies down 8.9% (all year on year)

They say: "Whilst the winds of change continue to blow and confidence in the economy remains a little uneasy, these ABC figures give reassurance that high quality titles, that are markedly different to the competition, will still attract strong consumer demand and in turn deliver attractive audiences for advertisers," said the Hachette Filipacchi UK chairman, Kevin Hand. "Hachette's first-half ABC performance is once again strong, delivering some good circulation increases and share gain for most titles. The growth of Red and Elle Decoration, especially, demonstrate that consumers are continuing to invest in luxury lifestyle titles despite the downturn."

MediaGuardian.co.uk verdict: The soap bubble burst but the good news is Red's in the black.
National Magazine Company

Total average circulation per issue: 3,050,689, up 1.4% year on year

Star performers: Real People up 11.5%, Esquire up 10.3%, Harpers Bazaar up 8.1%, Country Living up 6.1%, Reveal up 5.2% (all year on year)

Disappointments: Prima Baby down 10.8%, Cosmopolitan down 9%, Company down 5.6% (all year on year)

They say: "Since 1910, NatMag has continued to lead the way in publishing – from the early day of pioneering magazines, through wartime austerity, the boom times of the 1960s and the recent global economic difficulties," said the NatMag chief executive, Arnaud de Puyfontaine. "So it's no surprise to see that we are still going strong 100 years later. The longevity of our company and our strong ABC results are testament to the excellent quality of our brands, the exceptional talent employed at NatMag and the strong connection our titles have with generations of readers. We look forward to bringing more innovative branded content and world-class magazines to our consumers and advertisers for the next 100 years."

MediaGuardian.co.uk verdict: Double-digit joy for Real People and Esquire but big drop for Cosmopolitan.
 
Another look at those Jan-Jul 2010 ABCs (same source:(

Cosmopolitan and Company are biggest fallers in women's sector

National Magazine Company's Cosmopolitan and Company reported the biggest falls in the women's lifestyle and fashion sector, according to the latest Audit Bureau of Circulations figures for the first half of the year.

Cosmopolitan posted a circulation of 401,750, down 9% year on year and a 6.6% decline compared with the second half of 2009. Company reported a circulation of 217,324, a 5.6% year-on-year fall and 9.5% period-on-period drop.

IPC's Essentials was once again the biggest climber of the mainstream magazines, with its 115,432 circulation up 12.9% year on year and 2.9% period on period. Stablemate Woman & Home also enjoyed sales success, with circulation up 5.5% year on year and 0.3% period on period to 369,321.

Hachette Filipacchi's Red, edited by former Cosmopolitan editor Sam Baker, achieved another record circulation of 230,067. This was up 5.2% year on year and 1.6% period on period.

However, Hachette is still struggling with Psychologies, with circulation down 8.9% year on year and 9% month on month to 119,025.

NatMag's Harper's Bazaar performed strongly, with sales up 8.1% year on year and 7.2% period on period to 118,553. The publisher also had good news with Good Housekeeping, whose sales were up 3% year on year to 422,496, although this was a 1.8% period-on-period fall.

Condé Nast's big titles stayed on an even keel: Vogue's circulation remained flat at 210,561, while Glamour remained the biggest-selling magazine in the sector with year-on-year sales flat at 526,216, up 2.1% period-on-period.

Vanity Fair also remained almost completely flat both year-on-year and period on period at 102,445. Stablemate Tatler managed a 1.6% year-on-year increase, and just a 0.1% period-on-period rise, to 86,448.

"As the market shows clear signs of a recovery, our glossy titles and cross-platform innovations position us perfectly for continued growth," said the Condé Nast managing director, Nicholas Coleridge.

There was resilience among fashion weeklies, with IPC's Look down just 0.7% year on year, and up 0.1% period on period at 313,358.

Bauer Consumer Media's Grazia managed a flat performance year on year, and a marginal drop of 0.4% period on period, with sales of 228,770. Sales of Bauer's More, which has performed strongly recently, slipped back 1.9% year on year and 3% period on period to 187,159.

Sister magazine Yours, aimed at an older market, stabilised after several significant declines. Yours was down 1.3% year on year but up 4.5% period on period to 297,231.

Marie Claire, a joint venture between IPC and French publisher Groupe Marie Claire, continued to lose readers with circulation falling 1.9% year on year and 1.1% period on period to 280,021. But IPC's InStyle increased its readership to 186,251, a rise of 1.8% year on year and 1.1% period on period.

Hachette Filipacchi's Elle remained under 200,000, selling 195,625, about 200 copies more a month than in the previous half-year period to the end of December.

NatMag's She, the worst performer in the last ABC report, saw circulation fall 3.1% year on year and 3.9% period on period to 144,228. Stablemate Prima was up 5.5% year on year, and 0.3% period on period, to 289,058.

Overall, the women's lifestyle and fashion sector saw huge growth of 14.6% year on year and 6.9% period on period to 6,922,973.

However, these figures are influenced by the launch of free weekly Stylist, which debuted in the last ABC period and posted a 2.6% distribution increase this time around to 421,158, and the first recorded figures for another free title, John Lewis Edition.

JLE, from publisher John Brown, posted a debut circulation of 484,040, ranking it second only to Glamour in the category.
 
40 love: Sexy, older actresses dominate Sept. magazine covers
Wednesday, August 11th 2010, 4:00 AM

When the September issues of fashion magazines -- typically their biggest of the year, ad-wise -- hit newsstands this month, the three most prestigious ones will feature actresses in their 40s on the cover.

Vogue has booked Halle Berry, who turns 44 on Saturday; Harper's Bazaar will have 41-year-old Jennifer Aniston, promoting "The Switch"; and Elle has landed 42-year-old Julia Roberts, promoting her new film, "Eat Pray Love."

Putting these actresses on the cover of arguably the most important issue of the year sends a message that though we live in a youth-obsessed culture, there's still something to be said for the enduring appeal of women who have been in the public eye for nearly 20 years.

Laura Brown, projects/features director at Harper's Bazaar, pointed out that the average reader of the magazine is in their late 30s -- and that the readers view women like Aniston as "aspirational."

"They're cool, fashionable, interesting, compelling -- they have something to say," Brown said. "I love that they've grown into their style. One of the things about getting older is you do grow into your sense of self. You don't look victim-y anymore."

Lesley Jane Seymour, editor of More magazine, which is targeted to women in their 40s and older, echoed that sentiment.

"They're the ones with real style, real staying power, real beauty," said Seymour, who previously edited Marie Claire. "As the American population continues to grow older, everyone can relate better to a woman with a little wear on her tires."

Plus, she added, "Who is there with any kind of real style or longevity in their 30s or 20s right now? Britney Spears? Kim Kardashian? These are flashes in the pan. Many are shallow reality stars like Snooki. Style icon? Um, talk to me in a year. Frankly, it's here today, gone tomorrow. Lindsay Lohan? What's to look up to?"

The statistics for several magazines bear her out. The average age of Vogue cover models in the past year is 34.5; Harper's Bazaar, 32.5; Elle, 31.6; InStyle, 34.2; and W, 34.9. Harper's had the biggest range, putting 17-year-old Miley Cyrus on its February cover and 47-year-old Demi Moore out front in April. (Moore also graced the cover of the December issue of W; she is the oldest cover model for those five magazines.)

Data released Monday by the Audit Bureau of Circulations showed that single-copy sales of magazines dropped by 5.6% in the most recent six-month period measured. So it's ever more important for editors to select cover models who will appeal to people buying mags at newsstands, grocery stores and airports, where, of course, they pay full price. And in that context, older women can seem a safer bet, appealing to a wider audience -- and a wider magazine-buying audience -- than, say, a younger reality show star, singer or actress.

Indeed, it might seem as if the "Twilight" films have taken over the zeitgeist, but those movies' twentysomething stars don't come close to the star power of older actresses. At 46, Sandra Bullock is now the highest-earning woman in Hollywood, according to Forbes; she made $56 million last year with "The Proposal" and "The Blind Side." Rounding out the top five were two actresses in their 30s, Reese Witherspoon at No. 2 and Cameron Diaz at No. 3, and two in their 40s, Aniston (No. 4) and Sarah Jessica Parker (No. 5).

It remains to be seen whether Kristen Stewart can open a non-"Twilight" movie, but in the meantime, films starring the likes of Parker ("Sex and the City 2"), 49-year-old Julianne Moore and 52-year-old Annette Bening (both from "The Kids Are All Right"), 35-year-old Angelina Jolie ("Salt") and 40-year-old Tina Fey ("Date Night") were box office draws this summer.

Outside of Stewart, no actress in her 20s has held a significant role in a box office hit this summer. Megan Fox in "Jonah Hex" is the prime example of a twentysomething struggling for audience.

Indeed, the age of a cover subject seems to show that older often can be better. On InStyle's covers, 40-year-old Gwen Stefani outsold 25-year-olds Scarlett Johansson and Leona Lewis (648,000, 579,000 and 610,000, respectively) -- and all three were outsold by Jennifer Lopez, who was 40 when she was on the cover in September and sold a whopping 853,000 copies (though September, as mentioned, usually is the biggest month).

But not every over-40 woman is a sure thing, of course. Whitney Houston, then 46, showed up on January's cover and sold a relatively paltry 408,000 copies.

At Elle, when Parker, then 44, was on the cover in December, she outsold Lopez on the cover from February (285,000 copies vs. 161,000 copies on newsstands) and 20-year-old Stewart's June cover (207,000 copies). Vogue also had good luck with Parker, whose May cover sold nearly 325,000 copies on the newsstand. Parker outsold June's cover with 22-year-old Blake Lively on the cover (248,000) and December's with Cate Blanchett, then 40, out front.

"I will put anybody of any age on the cover," Bazaar's Brown said. "I never think of someone's age when I'm booking a cover." Bazaar has been relatively steady on the newsstand, with its youngest cover model, Cyrus, barely outselling its oldest, Moore (126,000 vs. 114,000 copies).

Elle editor-in-chief Robbie Myers likewise was adamant that a cover subject's age has no bearing on whether the magazine books her. "We don't look at a subject's age when we decide to put her on the cover," she said. "It's a question of a certain kind of chic, what the project is and how excited we think the buyer will be about reading about someone at a particular moment."

But it's perhaps not surprising that Myers chose Roberts, whose "Eat Pray Love," which opens Friday, seems to speak to a certain recession-era mentality of self-discovery and authenticity. And Roberts herself has a carefully cultivated persona of keeping herself above the tabloid fray, putting her children first and choosing her projects carefully.

Jon Penn, a magazine consultant and president of the media and entertainment division of Penn, Schoen & Berland who works clients (including several from Conde Nast) to do market research on magazine covers, said it's not surprising that editors are choosing seemingly approachable, down-to-earth actresses like Roberts for their covers.

"In the post-recession era, consumer values have changed at the newsstand," Penn said. "Instead of seeking out escapism into the lives of over-the-top and often out-of-bounds celebrities, consumers are drawn to the authentic, down-to-earth and relatable. We are in a period of reflection where self-improvement, not self-indulgence, is a new language at the newsstand."

There's also less of a chance that a cover model of Aniston's or Roberts' ilk is going to end up scandalously in the tabloids (though Bullock probably would beg to differ). Brown noted that working with these types of actresses in many ways makes the magazine's job easier.

"They give you just enough for the magazine," Brown said. "They know how to conduct an interview. Sarah Jessica Parker would give you the impression that she would sit with you all day."

Perhaps the more salient question, then, is who will be the Parkers and Robertses of tomorrow's magazine covers. Of the cover models on Vogue, Harper's Bazaar, Elle and W in the past year, no one appeared on all four. But Parker, Blanchett, Moore and Aniston each appeared on two, along with 37-year-old Gwyneth Paltrow and 35-year-old Kate Moss. The only woman under 30 to appear on two of those magazine's covers was 22-year-old Rihanna, who was on the cover of Elle in July and W in February.

"The young actresses are fascinating in their own way," Brown said, "but they need to be put in the wine barrel a bit longer."
nydailynews.com
 
T IN VOGUE:

Sally Singer, the newly installed editor in chief of T: The New York Times Style Magazine, is rounding out her staff with a slew of former colleagues and famous daughters. Singer has named Ethel Park, an associate fashion editor at Vogue and longtime assistant to Tonne Goodman, to the post of senior fashion editor at T, effective Aug. 30. Joining Park in the fashion department will be Sara Moonves (daughter of CBS honcho Leslie and a former assistant to Vogue executive fashion editor Phyllis Posnick) and Vanessa Traina (daughter of Danielle Steel and a stylist who’s worked with Vogue contributing editor Marie-Amélie Sauvé), both of whom Singer has signed on as freelance fashion editors. “They see the link between fashion and the larger question of what’s relevant in our culture,” Singer said of her new recruits, adding, “They’re also quite connected with the generation of emerging designers, not only in the States, but abroad, as well.”

Meanwhile, those waiting to see how Singer changes the Times glossy will have to wait a few months — she said her first issue will be the Holiday issue, out Dec. 5.
WWD

I actually commend Sally for staying professional by not stealing Vogue editors. I'm looking forward to her first issue.
 
Remember Those Hachette/Hearst Rumors?

Lagardère, the parent company of Hachette Filipacchi Media U.S., finally broke its silence Thursday and waved off rumors that it plans to imminently off-load certain titles to another U.S. company. Speculation has been rife recently that the French group was in talks with Hearst Corp. about some sort of deal involving Hachette’s U.S. titles, which include Elle. The deal was even said to possibly involve Hearst and Hachette linking up on a global basis.

During a conference call to present its first-half results, Lagardère executives confirmed the group had received “some interest from companies” and was obviously studying offers “because it’s our role,” but said there is, “no specific plan and no decision to really sell the magazines in the U.S. and…other countries outside of France.”

Lagardère increased its 2010 guidance earnings, citing an upturn in the advertising market. For the first half, sales slid 2.7 percent to 3.72 billion euros, or $4.95 billion, while net income jumped 20 percent to 97 million euros, or $129 million. Dollar figures are calculated at average exchange rates for the periods.

wwd.com
 

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