The Business of Magazines | Page 197 | the Fashion Spot

The Business of Magazines

UK Bazaar continues to grow year after year in a market where most are declining, an achievement which seems to escape attention.

Although we'll never hear the end of that 1.1% increase at UK Vogue. At least things are going in the right direction, but it suggests that hype can only carry you so far.
 
Here’s some Goop.
Focus, please.


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Goop Magazine Out From Under Condé Nast and Digging for Data
There seem to be a lot of perks for Goop in taking its quarterly magazine independent in time for the third issue.

By Kali Hays


The third issue of Goop magazine is themed “Sh-t No One Tells You” — an apt title for a publication that decided to go independent after a year printing under Condé Nast and a company that’s suffered its share of criticism.

Apparently, there were a few things that came as a surprise working under one of the world’s biggest magazine publishers, like not being told where or even how well the previous two issues of the quarterly magazine sold.

Elise Loehnen, Goop’s chief content officer and a veteran of Condé’s now-defunct Lucky magazine, said one of the biggest issues that came up during the “trial period” with the publisher was being refused insight on sales, purportedly due to contractual obligations.

“We didn’t realize how much we would want and need insight into sell-through and we just are so dependent on data,” Loehnen said. “There was no transparency around where it was being distributed and how it was selling and in various markets, in various pockets, from a distribution standpoint, we really need to know that.”

Goop is also making a “significant” push into Europe and Canada this year, with shipping, shops and the magazine all making debuts, making distribution with a publisher refusing insight untenable.

There was also the issue of having two teams working on ad sales and marketing, on opposite coasts and with presumably different views on strategy. Loehnen said she wants to do newsstand takeovers and “make sure [the magazine] is in every wellness spa and vineyard [resort],” something that proved improbable, if not impossible, with Condé. Goop is heavy on experiential, even boasting previously that its growing number of pop-up locations are profitable before they open their doors, but even heavier on consumer data — mining it and leveraging it to plot its next moves. It’s also bringing new features to its third issue — “text to buy” and “text to learn more” for certain pages and products — in an effort to gain even more insight into readers and potentially drive monitorable sales for advertisers. Both advances that seem beyond Condé at this point.

“It was too complicated to try to work that out with Condé and it’s not exactly their business, so it was easier to do it [on our own],” Loehnen said.

She added that the quickie divorce was “totally amicable” and cited the continued use of the aesthetic for Goop magazine molded with the help of Condé and Anna Wintour as proof that starting off under experienced eyes had its benefits.

“It was great to be able to lean on them for all of their expertise and have Anna’s eye on it, obviously — that was really critical and important to Gwyneth,” Loehnen said.

Nevertheless, the time came to be fully independent. Goop’s third issue was produced entirely in-house with an editorial staff of about 20 and a new distribution partner in Oehler Media, which gave Goop the flexibility it wants.

Also without Condé, Goop can feature doctors that practice “functional medicine” — an emerging field of alternative medicine that’s either the future of health or the end of it, depending on whom you ask — and their recommendations.

Goop has over the last year stumbled under heaps of criticism, from social media quips to op-eds and blog posts by traditional Western doctors, for allegedly offering up what may amount to herbal voodoo (much has been said of Yoni eggs and vagina steams, but there are months worth of detox meals and enough relationship advice to fill a book by now) in the guise of medical advice.

This is something else the company was not expecting, but is attempting to take the reins of before it gets too out of hand. As part of early plans to expand the print magazine to include possibly seasonal issues or collections of recipes, there’s talk of issuing a science journal with a partner, maybe even Caltech, which could give more legitimacy to Goop’s medicinal leanings.

“Essentially, we stand by all of our content,” Loehnen said of the sometimes fevered criticism against the content that goes up on its site, but has yet to really appear in print. “We’re just trying to do a better job of positioning it so people understand the intent. And we recognize that people are looking at us and we have to be beyond ‘gold standard,’ we need to be absolutely impeccable in how we present information.”

To that end, there’s been a fact-checker brought onto the editorial team, along with a managing editor after the February hiring of Danielle Pergament, another Condé alum, as editor in chief.

Pergament said the motivation behind the third issue, the first issue with Goop that she’s been involved with from the beginning, was simply “pleasing the reader” and admitted that “it’s nice to be inspired again.”

“It’s very liberating to have this agility and know you can just focus on the content,” Pergament said.

While a typical Goop reader may be pleased, it may not be enough to ward off critics. The issue has Goop’s first investigative piece into the increased exposure to toxins in beauty products faced by black women and a series of letters from women, including Drew Barrymore, to their children about what they wish them to know. Both topics sound all too easy for Goop critics to tear apart, if there’s even a tiny opening, although Pergament said the article about toxins was thoroughly researched. There’s something to be said for a company and a publication continuing to take obvious risks after being the subject of countless takedowns, but maybe the risks are just part and parcel to keeping the conversation around Goop going. Business is good and the more who read and hear about Goop, no matter the tone, the better it will get.

As Paltrow writes in her opening letter for issue three, listing some things she was never told, “Competition with others is toxic. Competition with yourself is healthy” is number two.

“Have absolute focus on what you want to manifest,” Paltrow suggests.
source | wwd
 
Love how they continue to drag CN, in a subtle way of course. How on earth does CN rationalise not giving them circulation stats, and probably more importantly, location as well? Especially for a newly launched magazine. Agree with Goop here. Also, more tears about not being shoppable. Zzzz. They need to let this go now. Should be interesting to see how they'll move ahead. Because by the looks of it she's merely gunning for a more elite version of O, meaning it will still be her mouthpiece. And no, the Liya shot won't sway the fashion set. They'll need more than that.

"And we recognize that people are looking at us and we have to be beyond ‘gold standard,’ we need to be absolutely impeccable in how we present information.”

Please! Lol. Goop has been spewing quackery since her very first blog entry. I doubt we're all looking at them as sort of holy grail of lifestyle advice. At this rate I'm more inclined to listen to her good friend Dr Oz, who's as much as a fraud, if not worse, than she is.
 
Goop is 'fake news' in the form of a woman's magazine, telling you dangers ('toxins') are everywhere out there, when the biggest danger of all is that style of information. As such, it will probably do well.

Rich people can afford to spout empty mantras about manifesting your destiny - as well as the best doctors when things don't go to plan and the alternative stuff stops working.
 
Goop is such a weird thing for me. I occasionally go and read articles on their site although everything sounds so stupid and I believe none of it, but at the same time some of it is very entertaining and I can see why more.. gullible people would be into it. Honestly, people with too much money on their hands and nothing better to do will believe just about everything. It's easy to create problems when you have none.
 
UK Bazaar continues to grow year after year in a market where most are declining, an achievement which seems to escape attention.

Although we'll never hear the end of that 1.1% increase at UK Vogue. At least things are going in the right direction, but it suggests that hype can only carry you so far.

Lol, true! Let's talk again when Vogue stop selling their September issues at £2, which imo is a cheap trick. It's seems they've adopted a mentality of any reader is better than a few.

I'm not saying this to gloat, but Harper's continues to amaze me. It seems the magazine really does provide a service to its readers. That should send out a strong message to all these other wannabe titles who's so quick to hop on the latest indie trend.
 
Here’s some fresh BS to start the week...

Carine Roitfeld Brings a Cause to New Edition of CR Fashion Book
The French editor was spurred by current events to highlight UNICEF and its work with refugees.
Kali Hays

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https://wwd.com/subscriptions/?utm_...rgreen&utm_medium=referral&utm_source=wwd.com
Carine Roitfeld is certainly not a woman who brings to mind the international refugee and immigration situation, but the new issue of her CR Fashion Book may change that for a time.

For the 13th issue of the magazine, Roitfeld decided to work with the United Nations International Children’s Emergency Fund. Gigi Hadid, one of the world’s most popular models, and Halima Aden, one of its newest and maybe most unexpected models, work with the organization, which focuses on getting vital supplies and health services to children in politically unstable regions, as well as advocacy.

In separate covers, Hadid and Aden are featured wearing a UNICEF T-shirt and a utility-style jacket by Calvin Klein, with the latter in a hijab (this time in the form of a leopard-print hood) that’s become a trademark of her emerging career. Both are featured in a relatively straightforward style with natural makeup and hair and pose before a simple gray background — a far cry from Roitfeld’s typical archly stylized covers. But a more staid image suits the collaboration at hand.

UNICEF’s most recent global report on the state of refugee and migrant children found that 50 million a year are either part of a migration or “forcibly displaced.” The issue of immigration has been of particular focus in Europe in recent years, which, despite some of the most complex immigration and border laws, has seen an influx of about two million immigrants since 2015, many fleeing violence in Libya and Syria and risking their lives by attempting to swim across the Mediterranean Sea. Meanwhile, the U.S. under President Trump has severely restricted immigration, including legal immigration, pushing forward earlier this year with a “zero tolerance” policy that forced thousands of immigrant parents to be detained and their children to be placed in government shelters or foster homes.

Roitfeld said she wanted to “celebrate” the mission of UNICEF with the new issue, “especially in such a challenging year for children and refugees globally.” She also wanted to highlight the work done by Hadid, whose father is a refugee, and Aden, who herself is a refugee. “I wanted to celebrate these two passionate young women, honoring their accomplishments and the promise of what they will bring to this respected organization,” Roitfeld added.

Caryl Stern, president and chief executive officer of UNICEF U.S., said “the fashion industry has a real power to spark discussions,” noting that “there are more children on the run right now than at any point since World War II and it’s crucial to shine a light on those who are helping make the world a better place and empowering children to have a brighter future.”

As for Hadid, who at the time of writing was actually with UNICEF visiting a refugee camp in Bangladesh with more than 45,000 inhabitants, said the Palestinian side of her family had to flee to Syria when her father was a newborn, and subsequently came to the U.S.

In a Friday Instagram post, Hadid showed her nearly 43 million followers a small educational session for women, writing: “Their strength, bravery and desire to learn and better their lives and the lives of their children is inspiring and encourages us/@unicefusa to continue to find new ways to support these amazing human beings during this crisis.”

For her part, Aden, a Somali who was born in a Kenyan refugee camp, still remembers UNICEF members and missionaries coming around as a child. “I forget names, but can never forget how they made me feel,” she told the magazine.

As for what it was like to land in America as a young girl with her mother without even speaking the language, Aden said for the first few months she longed for the familiarity of the refugee camp. “Isn’t that insane?” she asks.

“My mom used to say that ‘home spit us out and wouldn’t let us return,’” Aden continued. “That’s why every refugee longs for acceptance. Will I be welcomed with open arms or will I be sent back or will I endure something even worse?”

Hadid and Aden have also created a new CrowdRise fund (crowdrise.com/UNICEFuprooted) to raise money for UNICEF, which exists through voluntary contributions from governments, nonprofits, corporations and individuals, and receives no funding from dues paid to the United Nations.
source | wwd
 
"The best and worst September issues"

https://nypost.com/2018/08/20/the-best-and-worst-september-issues/


This year’s September issues may be skinnier, but they offer an engaging mix of celebrity, fashion and socially minded features. We review the season’s biggest fashion glossies — the ones you’ll want to lug onto the subway or simply flip through at the doctor’s office.

InStyle ★★1/2
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Pages: 332 (108 fewer than last year)

Jennifer Aniston, in a black blazer? Zzz. Banal cover subject and story aside, InStyle delivers another pleasurable, not-too-challenging mix of celebrity (“Marvelous Mrs. Maisel” star Rachel Brosnahan in crazy patterns), fashion (Lily Collins channeling Audrey Hepburn in Givenchy) and service (the fight for maternity leave). A Jimmy Kimmel profile feels late, but a spotlight on the women of Texas nonprofit RAICES (Refugee and Immigrant Center for Education and Legal Services), which raised more than $20 million on Facebook earlier this year to fight for immigrant and refugee rights, is timely. And haters be damned, I love Lena Dunham’s essay about dressing like a “full-scale baby”!

Marie Claire ★★
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Pages: 226 (68 fewer than last year)

MC devotes its (sadly skimpy) September issue to immigration. Cry over a Salvadoran teen’s harrowing first-person account of being separated from her mother and detained at the border. Hear Constance Wu, Christy Turlington and Camila Cabello tell their families’ migration stories. Cover star Zendaya is beautiful and eloquent, but doesn’t delve into the immigration theme at all. The fashion spreads are quirky and colorful, and don’t take themselves too seriously. But some of the articles read like press releases.

Harper’s Bazaar ★★1/2
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Pages: 397 (77 fewer than last year)

I hate to admit it, but the black-and-white subscriber cover with Yeezy and his two kids is pretty sweet — cute, vulnerable, human. (The more pedestrian newsstand one features Bruce Springsteen with daughter Jessica.) The rest of the “families that rock” portfolio, styled by veteran French editor Carine Roitfeld, feels stale, though. What doesn’t: The fantastically luxurious “Mary, Queen of Scots” shoot, Haitian model Aube Jolicoeur sporting sci-fi fashions and her natural ’fro and real-life “Crazy Rich Asians” in over-the-top couture (with accompanying story by the book’s author, Kevin Kwan).

Vogue ★★★1/2
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Pages: 646 (128 fewer than last year)

Queen Bey is here to slay! Vogue makes history with this fresh-faced Beyoncé cover, its first-ever shot by a black photographer: 23-year-old wunderkind Tyler Mitchell. (I know, what took so long?) The results are stunning, if a little reminiscent of the singer’s “Lemonade” video. An essay from the late street-fashion shutterbug Bill Cunningham, about his early bohemian days delivering lunches in Manhattan, has charm. So does a profile of the two young actresses cast in the HBO adaptation of Elena Ferrante’s blockbuster Neapolitan novels. But this cover line threw us for a loop: “Beauty Comes of Age: The Case for 18+ Models.” How about 30 or 40+?

ELLE: ★★★
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Pages: 411 (85 fewer than last year)

Several pundits blasted Vogue for publishing a Beyoncé-in-her-own-words cover story, but letting Jennifer Lawrence interview pal Emma Stone and running the unfunny, inarticulate transcript felt like the greater crime against journalism. Other than that misstep, Nina Garcia’s first September issue as editor-in-chief retains her predecessor’s brainy mix of fashion, news and culture. See Celeste Dupuy-Spencer’s politically charged paintings, Miss America pageants in the #MeToo era and a zeitgeisty, bonkers Omarosa profile. The fashion spreads are another strong point; the one mashing up prairie dresses and futuristic sci-fi threads is ingenious.

Glamour: ★★
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Pages: 148 (68 fewer than last year)

It’s Tiffany Haddish in Technicolor rainbow hues! What a delightful cover shoot and story, which captures the comedian’s vibrant personality — and gets her to open up about childhood traumas (including r*pe and family history of mental illness). Glamour continues to uphold its reputation as the woke-est of fashion mags, with a spotlight on hairstylists of color redefining Hollywood beauty and a scary investigation into the movement trying to preserve Confederate monuments. There isn’t a lot of fashion, though, and the whole magazine will take you maybe an hour to read.
 
Vogue Masthead Integration Shows More Staff Losses, Changes
The delineation between print and online is gone and even Grace Coddington has gotten another big title change.

Kali Hays

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Masthead Matters:
Mastheads are a window into the way a publication operates and Vogue is no exception.

As if another sign that print is succumbing to digital were necessary, the fashion glossy for the first time has fully integrated its Web and print staff under one single masthead, indicating that there is major crossover now between the content on the Web and the content that shows up in its monthly magazine.

Until July, there had been a clear delineation between staff that worked on Vogue.com and it was the biggest section of the masthead. Now, many of those employees have been worked into the previously print-only sections, like “beauty” and “features.” Others have found themselves under entirely new sections, including “video” and “fashion news,” or under the section for “digital/operations,” which is mainly development and backend-focused employees.

Other Condé Nast titles like Vanity Fair, Glamour and W have already integrated their mastheads under new editors (and under a new era of budget-tightening at the publisher) but Vogue was one, if not the last, holdout.

The integration also shows some significant changes to the magazine’s staff. At the end of May, Vogue said it had cut about eight employees, but between the June and September issues, there are actually 16 fewer employees in total (accounting for 24 staffers that either were cut or left since June and eight new hires or internal moves), or twice as many as initially claimed. Again, mastheads have been slowly shrinking elsewhere at Condé over the last few years, but Vogue is significant because it had long seemed impervious to cuts.

Asked about the implications of the integration and the changes to staff, including placement and title changes, a Condé spokeswoman declined comment.

A majority of the recent cuts at Vogue were to the dot-com section, where at least 10 staffers, including a few in editorial and a few on the Web development side, are no longer with the title. Other changes are in the creative section — several visuals staffers are gone, as is Raul Martinez, formerly Vogue’s head creative director — and something of a catchall section that includes special events, editorial development and communications employees, of which at least five have been cut.

It seems those with a creative director title are prone to getting bounced around, too. Grace Coddington, at Vogue for over three decades, has officially been moved to “contributor” after being “creative director at large” since 2016.

Although this seems as good a signal as any that Coddington’s days with Vogue are limited, she’s said to be staying on and continuing to regularly produce photo shoots through 2019. Although now, with her new title, she’s sitting at the very bottom of the masthead with the likes of Lauren Santo Domingo, Plum Sykes and André Leon Talley, who all make only the rare appearance in Vogue’s pages, online or off. Cameron Bird, formerly West Coast special projects editor, has also been moved to contributor status, as has Elisabeth von Thurn und Taxis, formerly the magazine’s style editor at large.

Last, but maybe not least, David Sebbah, listed as Vogue’s creative director and the second name on the masthead before the Web integration under Anna Wintour, has been moved a whole five sections down under the “creative” section. While his title is still the same, which he also holds at Architectural Digest, mastheads, like New York itself, tend to be all about real estate.
source | wwd


source | mydigitalcopy
 
Russian media group ACMG is closing Numero Russia and another magazine SNC. As far as I understood from russian articles (sorry, could not find anything in English) Numero russia will be now published as an album version, but the whole team with an editor-in-chief will leave company. Same with SNC team leaving the office as ACMG could not provide good working conditions (magazine will be digital only). ACMG also owns Lofficiel Russia and Forbes and they already had problems with not paying Forbes team salary and blocking editors to access the website to publish.
 
Omg no way? Any source? This is exciting! Thank you Melancholy!
 

This is also in New York magazine's fall fashion issue, with Tessa Thompson on the cover. Also inside: a feature on Birkenstock by Cathy Horyn and photographed by Juergen Teller, "What It's Really Like to Be Black and Work in Fashion," Karla Welch, and a series with 12 artists interpreting fall looks.

Expanded version of "What it's really like"

What It’s Really Like to Be Black and Work in Fashion
 
Oops, Anna.

... When I asked Ms. Wintour if she thought Mr. Picardi could one day run Condé Nast, she did not swat away the question. “For Phill, anything is possible,” she said. “It’s his road to take.”
source | nytimes | March 3, 2018

Teen Vogue Head Phillip Picardi Is Leaving Condé Nast

Opheli Garcia Lawler | August 23, 2018

Phillip Picardi, the 27-year-old chief content officer at Teen Vogue, is leaving Condé Nast. He will be the next editor-in-chief at Out, a magazine centered around LGBTQ culture.

Picardi was 26 when he became the head of Teen Vogue, and launched Them, Condé Nast’s first LGBTQ-focused publication. He is widely known for taking Teen Vogue in a more progressive direction.

“I am super honored to be taking the helm at Out, which is a legacy LGBTQ publication,” Mr. Picardi told The Wall Street Journal, which announced the news. “I’m looking forward to reimagining what Out looks like for the modern queer audience and preparing it for the future.”

The company has not yet named the person who will take Picardi’s place. He is one of several people who have left Condé Nast over the last year. Elaine Welteroth, former editor-in-chief of Teen Vogue, left the company shortly after it was announced that there would no longer be a print edition of the magazine. Glamour editor-in-chief Cindi Leive left late in 2017 as well. Rumors that Anna Wintour would be leaving Vogue were shut down by the company in April.
source | nymag
 
Good for Phillip and for OUT. It's evident that Condé Nast is a sinking ship for existing titles and definitely not a good place to start a new one - even someone like Gwyneth didn't like working with them.
 

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