The Business of Magazines

[Benn98]

That price is exorbitant, daylight robbery. But then again US Vogue's library is far greater than VI's, so it makes sense.

 

[caioherrero]

^there are some sites where you can -illegally- download the latest issues. I sent you a message

Vogue Italia is offering a €20 digital subscription and you also get access to all their archives. Or you can view 3 issues of your choice for free. I browsed other Vogue sites and couldn´t find anything but I´m asking just in case I missed it.

I want this too

 

[Miss Dalloway]

That price is exorbitant, daylight robbery. But then again US Vogue's library is far greater than VI's, so it makes sense.

The price is insane, but its every issue of American Vogue. Over 100 years of issues. I think that is impressive, and it's cool for brands that can afford it, but individuals? It's crazy, yet i was THIS close to getting it last year. I so want it, mostly for the old issues from 40s, 50s and 60s.etc

And the video of the archive i seen once looks AMAZING (you can search, and save individual pages or whole issues even ), apparently they spent 4 years uploading all the issues somwhere in Thailand, correcting the quality.etc So i guess the price reflects that.

Surprised UK Vogue doesn't have it though!

I think US Vogue archive is available in some libraries.....

 

[caioherrero]

The price is insane, but its every issue of American Vogue. Over 100 years of issues. I think that is impressive, and it's cool for brands that can afford it, but individuals? It's crazy, yet i was THIS close to getting it last year. I so want it, mostly for the old issues from 40s, 50s and 60s.etc

And the video of the archive i seen once looks AMAZING (you can search, and save individual pages or whole issues even ), apparently they spent 4 years uploading all the issues somwhere in Thailand, correcting the quality.etc So i guess the price reflects that.

Surprised UK Vogue doesn't have it though!

I think US Vogue archive is available in some libraries.....

It’s my dream to look at this archive. The price is $1500 for only one year?

 

[Miss Dalloway]

^ Yeah, it's just for 1 year, i seriously doubt it's possible to check every issue in that time. Vogue used to be published twice a month, i think, so there is tons of issues!

If i decide to buy the log in, i will let you guys know, and will gladly share the password!

 

[caioherrero]

^ Yeah, it's just for 1 year, i seriously doubt it's possible to check every issue in that time. Vogue used to be published twice a month, i think, so there is tons of issues!

If i decide to buy the log in, i will let you guys know, and will gladly share the password!

We should buy in group. I’m all in!

 

[Miss Dalloway]

^ Hahah, i would defo be up for that.

 

[Bertrando3]

The price is insane, but its every issue of American Vogue. Over 100 years of issues. I think that is impressive, and it's cool for brands that can afford it, but individuals? It's crazy, yet i was THIS close to getting it last year. I so want it, mostly for the old issues from 40s, 50s and 60s.etc

And the video of the archive i seen once looks AMAZING (you can search, and save individual pages or whole issues even ), apparently they spent 4 years uploading all the issues somwhere in Thailand, correcting the quality.etc So i guess the price reflects that.

Surprised UK Vogue doesn't have it though!

I think US Vogue archive is available in some libraries.....

I am surprised you guys just discovered that. It´s been yearssss since US Vogue launched its digital archives. Every single issue since the very first one is available and every cover, every supermodel is referenced and brands as well.

Indeed universities and special places get the free suscription for the complete archive. As a former subscriber to US Vogue, I received every month my magazine in print + the digital version on the iPad + the freedom to access to several past issues from the Vogue Archive.

Italian Vogue archive is online and free, isn´t it? I clearly remember using it and looking through it a few years ago. I also remember Franca Sozzani talking about it in video interviews and how easy it was for people to access it now that it was online.

 

[caioherrero]

I am surprised you guys just discovered that. It´s been yearssss since US Vogue launched its digital archives. Every single issue since the very first one is available and every cover, every supermodel is referenced and brands as well.

Indeed universities and special places get the free suscription for the complete archive. As a former subscriber to US Vogue, I received every month my magazine in print + the digital version on the iPad + the freedom to access to several past issues from the Vogue Archive.

Italian Vogue archive is online and free, isn´t it? I clearly remember using it and looking through it a few years ago. I also remember Franca Sozzani talking about it in video interviews and how easy it was for people to access it now that it was online.

OMG, I’m a subscriber. Where can I see the old issues?

 

[kokobombon]

Italian Vogue archive is online and free, isn´t it? I clearly remember using it and looking through it a few years ago. I also remember Franca Sozzani talking about it in video interviews and how easy it was for people to access it now that it was online.

For what I gather, you can only view 3 magazines and have a limited search for free. Otherwise is €20 per year (more options but still limited) or €1000 same as US Vogue.

So Vogue Paris doesn´t have anything similar?

 

[Bertrando3]

OMG, I’m a subscriber. Where can I see the old issues?

Here: https://login.voguearchive.com/LicenseStream/VogueLanding/VALandingDesktopP1.aspx

 

[Benn98]

Time Inc US, which owns InStyle, People, Entertainment Weekly, Time, Sports Illustrated was sold last year to Meredith (Shape, Ladies Home Journal, Martha Stewart Weddings, More etc.) The UK division, which owns Marie Claire and the digital InStyle, is also being prepped for sale.

Hearst apparently bought the US editions of Mens Health, Runners World (one of the few non fashion magazines I regularly buy), and Women's Health among others.

Basically under new ownership we can certainly expect a redesign of some sort. New owners will definitely play closer attention to their new acquisitions and all the bad habits will be weeded out. It'll be interesting to see how Instyle and UK Marie Claire will evolve. And whether InStyle's new publisher with it's markedly mainstream titles will shape the magazine as a fashion title to stand next to the rest.

 

[Benn98]

No wonder the Jimmy Kimmel cover looks such a mess!

GQ design director exits role after more than a decade

By Keith J. Kelly December 22, 2017 | 1:25am


Fred Woodward, the towering GQ magazine design director who spent 16 years at the title, had his last day there on Thursday.

It comes only weeks after creative director Jim Moore said he was stepping down, with GQ Style Editor-in-Chief Will Welch taking the title in January. In a sign of the ever-tightening of belts at publisher Condé Nast, Welch will keep his GQ Style job. Moore keeps an affiliation as creative director at large.

Not so with Woodward, as Condé appears to be forcing out many of the high-salaried people on the staff of GQ Editor-in-Chief Jim Nelson.

“As of today, my work here at GQ is done,” said Woodward in an e-mail to friends and colleagues. “End of an era. Wish me luck in my future endeavors. Don’t cry for me, Argentina. Hasta la vista, baby. So long, farewell, auf Wiedersehen, goodbye…

“When I first arrived at GQ, should anyone have asked what I’d learned after 15 years at Rolling Stone, I would have been quick to say: ‘Never stay too long in any one place. No matter your love for the brand. No matter your love for the people. No matter your love for the work. No matter what.’

“Now, after sixteen years at GQ, I can only say: Some people just never learn… Keep fighting the good fight, and I’ll do the same.”

Source: Nypost.com

 

[Xone]

Martin Hoops...From Vogue To Elle

Elle Appoints Martin Hoops Design Director
Hoops comes to Hearst from Condé Nast.

By Kara Bloomgarden-Smoke on January 22, 2018

Elle has named Martin Hoops its new design director.

“Martin is a seasoned professional who understands just how vital the typography and design of a magazine is to execute a successful and engaging story,” said editor in chief Nina Garcia. “He is a collaborative and innovative thinker and I look forward to having him at Elle.”

This is Gracia’s most recent hire since she succeeded Robbie Myers as editor in chief in the fall. Earlier this month, Garcia tapped Stephen Gan for the position of creative director.

Hoops comes to Hearst from Condé Nast, where he was the senior art director at Vogue. Before going to Vogue a decade ago, Hoops worked at Rolling Stone as an art director. He has also worked on several books, including Grace Coddington‘s “Grace: The American Vogue Years” and “Oscar de La Renta: The Style, Inspiration and Life of Oscar de la Renta.”

“I’m incredibly excited to work alongside Nina, Stephen, and the entire team. Elle is a storied and dynamic publication and I look forward to bringing some of my energy and graphic sensibility to the pages,” Hoops said.

The position of design director has been vacant for a number of months, since before Garcia’s arrival at the publication.

Source: WWD

 

[Benn98]

Edward Enninful On How His Career Has Shaped #NewVogue

By Alice Newbold
Alice is the Vogue Daily editor of Vogue.co.uk
Thursday 18 January 2018

THIS morning, Edward Enninful addressed students of the Condé Nast College to share how his career has shaped his editorship at Vogue. From joining i-D at 18 to working under Franca Sozzani at Italian Vogue and Anna Wintour at US Vogue, and transforming the way W told stories with Stefano Tonchi, here he recounts the journey and highlights that led to “the ultimate step”: editing British Vogue.

On i-D:

When I started working as a model I would always ask stylist Simon [Foxton] if he needed an assistant, and he would tell me it was a lot of work. I started helping him with castings and he introduced me to Nick Knight, the incredible British photographer, who then introduced me to i-D magazine. I was around 17. I’d go to college, I’d model, I’d go to i-D and then when I was 18, the fashion director of the magazine just offered me a job there!

On Italian Vogue:

Franca Sozzani had seen my work in i-D and loved it, so I started working for her. The brilliant thing about Franca was that she could spot talent in the raw. So every time I’d call her up and tell her, “Franca, I’ve got eight ideas!”, she would say, “Give me more!” And later on I discovered that getting a story in Italian Vogue was actually very difficult.

Italian Vogue was where I learned all about storytelling, while i-D was where I learned about street fashion. It was all about narratives, like the plastic surgery shoot with Steven Meisel. Franca would literally give me 30 pages, something that never happens anymore.

On US Vogue:

It was all about finding my own styling persona. Where Italian Vogue had been about narrative, American Vogue was focussing on the one dress that would sell. So you would really focus on the 10 pages you had, and how to communicate with the reader directly. Every piece was magnified. Anna would check every shoe, every shoelace, every glove. Every little detail. I got to learn from the best. I really loved the mix of art and commerce, and the business side of fashion. I was really lucky, those women were incredible.

On W:

I had been at American Vogue for seven years when Stefano [Tonchi] called me. He had started at W, which had always been an image-based magazine and was sort of struggling. The level of photography was so high, you had people like Steven Meisel, Mert and Marcus - the best of the best. We had a lot of fun there, it was very celebrity-based, but the beauty of W was turning the commercial part of it into art.

On #NewVogue:

As a stylist you’re always sort of behind the scenes, then you get thrust into the spotlight and people want to see what you do. Slowly you get used to that and then you go and work at Vogue: the ultimate step.

It’s been a great journey since the announcement, with support from people all over the world. That level of love, people have really embraced what I set out to do. It just shows that no matter what colour you are, how old you are - if I can do it, then you can do it. That’s always been my mantra. I’m from a family of seven kids, and parents that are not that wealthy, and I feel like I represent what’s possible. Everything is possible if you have a passion.

On diversity:

When it was my turn to define what Vogue was, I wanted it to be a very diverse magazine, and open to the world. Still with high standards, but more welcoming. I mean, that’s the world today! I wanted it to be topical and to show what people care about today. We’re not going to shy away from topics, but we'll reflect on ideas, see things through the Vogue lens.

Every issue you’ll see something different, but for me a magazine that’s successful is one where something flows every month. You know, different ages, different colours. I feel like the new way is just to be inclusive.
Mert Alas & Marcus Piggott

On continuing to work as a stylist:

I don't believe an editor-in-chief has to be one thing or another any more. Franca was a stylist, Anna was a stylist, it’s cyclical. I like to define my world by styling and then sometimes not styling. I can only communicate myself. The world we live in is not black or white.

Source: Vogue.co.uk

 

[tigerrouge]

I wish the people who are appointed editors would just get on with the job of being a good editor.

Part of being an editor is the task of editing - putting forward a persuasive vision of an curated world that readers would like to be part of. In a way, being an editor is all about discrimination, but in the abstract sense of the word, rather than the racist one. As an editor, being all over the place with the things you do... isn't likely to lead to a great product.

 

[Miss Dalloway]

^ Exactly! He is really putting me off, put the work in, and then do all the PR you want!

 

[MON]

I see that they're still banking on the "we're diverse" shtick. At some point in time, it has to stop. He needs to find a stronger vision for the magazine. I am 100,000,000% all in for magazines to be inclusive, but if being "diverse" is all that he could think of to distinguish his Vogue with Alexandra's then he's up to a tougher challenge.

Because from where I'm standing, I still see Alex's formula coupled with the words "diverse" and "#NewVogue"

 

[Deleted member 45369]

I just saw Carine’s new collection edit for Bazaar and while it was the same old basic stuff she always does what stuck out for me was that Creative Direction was credited to Dennis Freedman. With Gan gone could he be stepping into the Creative Director position? Anyone know if he has worked with Bazaar before? I don’t recall him working with any magazine since he left W.

 

[Melancholybaby]

^I just saw that as well. He's been working with Barney's ever since he left W, I can't remember him working on any magazine since 2010. Wouldn't WWD or BoF report on it if he became creative director at Bazaar? I'd love for Glenda to get the boot and Dennis to be given the chance to take over the magazine. God knows so many people with far less experience and talent have been handed EIC positions.