The Business of Magazines | Page 209 | the Fashion Spot

The Business of Magazines

They're all like a flock of sheep! Now everyone wants to do digital covers, which I'm not sure how it will help. I still think the Vogue way of doing is more streamlined. The fact that the digital cover is an extension of the print one, as opposed to completely different. like this one.

Harper’s Bazaar Launching Quarterly Digital ‘Covers’

The first is with the women of "Red Table Talk," Jada Pinkett Smith, her daughter Willow and her mother Adrienne.
By Kali Hays on December 3, 2018

The concept of a “digital magazine cover” is not new, but Harper’s Bazaar is newly dedicated to the concept and expanding it.

A digital “cover” will be released quarterly on the magazine’s web site, launching with today’s photographs of Jada Pinkett Smith, her daughter Willow Smith and mother Adrienne Banfield-Norris, who also co-host the wildly popular Facebook show “Red Table Talk.”

Joyann King, editor of the web site, admitted that trying to give digital the visual heft of a magazine has been tried by most, to varied success, but argued “it feels really fresh for us right now.” She added that the concept will bring a sense of fashion and celebrity newness between issues of the magazine with at least subjects being treated with the importance of a cover.

“A cover story always signifies something deserves your attention — you know with a cover that it’s the most important story,” King said. “It really allows us to deliver high-profile, high-fashion and celebrity content more than just in print.”

And it’s not just a single image that is going into the feature. There are animated photos, loops, a gif, a video — all things you simply can’t do in a magazine and tend to draw a reader in.

That’s not to say that this is any sign that Bazaar is losing interest in print. “It allows us to debut more than ever before — we’re stronger together,” King said.

As for the choice of Pinkett Smith and “Red Table Talk” as the debut feature, Kerry Pieri, digital director of fashion and features, said it simply “made sense” to take a show having a moment online into a deep online feature. “We can put in links and make [the photos] come alive,” she said.

“We’ve been dabbling with all of these elements for years,” Peri said. King noted that her goals for the success of the features “are really high.”

As for the photos, which anchor the concept of the digital cover, those, as well as the videos and animation, were executed by Mariano Vivanco, who has worked for years with Bazaar and Elle in print, but marks his first time working in digital for an otherwise print publication.

Asked about how it felt to go to digital from a background mainly in print, “the word freedom comes to mind,” Vivanco said.

“I felt a little teensy bit more free just knowing it was going online, not having to worry about whether it was a single or double page,” he added. “It’s nice to be able to do a shoot like that.”

He also enjoyed working with the extended Smith family. They were into the process and Pinkett Smith picked out a dress she wanted to wear, but it didn’t fit in with the look Vivanco had in mind, when she ceded to his direction without fuss he was elated.

The only part of the entire process he isn’t excited about (he “loved” getting to animate his photos, to execute exact ideas and tweak until almost the last minute) is the ephemeral nature of the Internet. It swallows up even the best work when that’s where it lives.

“Do I long for this project to go to print — no,” Vivanco said with believable frankness. “But a very key word is ‘archival.’ Print magazines can be archived, but who archives anything digital? Maybe Hearst will be the one to do that.”

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Who and What Can Save Condé Nast?
Kali Hays
9-11 minutes
Condé Nast is effectively at a standstill until it finds a new chief executive officer to run its troubled publishing business, but there are at most a handful of executives around who can meet all of its current needs.

The combined list of characteristics and experience that industry and executive search experts said is required of whoever is to replace Bob Sauerberg — who is being forced out amid Condé’s long-coming decision to dissolve the boundary between its U.S. and international operations and further cut costs — is extremely long. Almost as long as the list of Condé’s own problems.

Condé’s days of being able to spend big on the best talent and let them do their thing seem long ago — the last 10 years it’s been in decline, but the last five have been a true spiral. “Anger. Denial. Chaos,” is how one source succinctly described the company over the last decade and its response to the digital wave that overtook it.

Sure, it will be willing to spend on a salary for whoever comes in to lead, but the company needs and wants someone relatively young (sources speculated people in their late forties at the oldest are on the emerging long list) which lends itself to a cheaper hire, compared to Sauerberg, whose base was in at least the seven figures.

“Candidates may not be on everybody’s radar,” explained Ginger Puglia, an executive recruiter for media and fashion companies here and in Europe. “But they need to be on the younger side because they’re going to be digitally savvy and open, more nimble.” She also noted that possible ceo’s don’t necessarily need to come from a media or advertising background. Someone could cross industries and be able to shift Condé in a direction that will steady it, bringing an entirely new perspective to its business.

“Look at success stories like Angela Ahrendts [the ceo of Burberry until 2014 when she became head of retail at Apple] — you don’t have to go with the usual protocol here,” Puglia said. “The thing to do is to think about who has had tremendous success? Who do people listen to? Who do people follow?”

While Jonathan and Steven Newhouse were clear in a staff memo that the ceo search is for someone outside the company, a first in its 110 years, with “global experience,” they were otherwise vague. Maybe because Sauerberg’s ouster was sudden and they actually have no one in mind as of yet. A source noted that the executive actually wasn’t expecting to be replaced and he was shocked when the day came, as were many Condé staffers. But the source admitted to hearing over the last year market chatter about how much time Sauerberg could possibly have left given that Condé has lost an estimated $250 million over the last two years.

Matt Rizzetta, ceo of North 6th Agency, said the most important thing for Condé right now is to get a leader with a history of entrepreneurship and innovation, in any industry, acknowledging that the market for some time has seen the publisher as “set in its ways.”

“It’s really just as much of a p.r. move as an h.r. move,” Rizzetta said. “It’s important that they get this hire right, so they can send a statement to the industry that they’re not only a legacy brand, they’re a pioneer.”

He noted that there are at most 20 people out there who fit the list of experiences Condé needs, which he agreed includes relative youth and experience running a global operation, but also the ability to connect with Millennial audiences, a deep understanding of the reemerging subscription economy, while sitting “on the cutting edge” of the ad industry.

“At the purest, most basic level, companies fail or succeed based on the strength of their leadership team,” Rizzetta added. “If they hire a great leader, does it guarantee Condé as a global brand? No. But if they don’t, it’s a guaranteed recipe for failure.”

While the entrepreneurial ceo personality lends itself to an ego that sees a pressurized, even desperate, situation like the one at Condé as bait (helming a major turnaround guarantees a lifetime of bragging rights and a seven-figure income), that same personality may not jibe with the family-run nature of the business — likely why the company has never had a ceo who wasn’t a Newhouse or groomed for many years by one.

One source noted that the Newhouse family “has to take at least some of the blame” for how things have gone in the wake of the Internet. Sauerberg, and his predecessor Charles Townsend, didn’t make decisions in a vacuum — the board of Condé parent Advance Media is small and contains many Newhouses, as it always has been. They ultimately call the shots.

In recent years, the source said that call has been simply: “Stop losing money.” But that’s hard because internal projections see the company not reaching a point of stasis with regard to print sales declines for at least another two years. And if that’s the directive, but you don’t have the freedom to enact fundamental business changes, there’s little left to do but enact layoffs and consolidate operations.

“The family gives you fewer and fewer good choices and at a certain point, you spend your day thinking how to cut costs,” the source said. “Your entire day.”

While there were new elements added to Condé, like Condé Nast Entertainment, its video studio that just got a new president; Spire, an audience-targeting platform now widely used by advertisers and marketers, and its branding studio, which was recently expanded, the company lost a lot of ground toward the end of the S.I. Newhouse Jr. era. Although he led the company through decades of a golden age when it became admired and envied throughout the publishing world for its quality publications, allowing it to charge the most and pay the most to its “star system” of editors and publishers, Newhouse was wary of becoming a new type of company: one that made videos and directly sold consumer products and competed with advertisers — which all magazines do now. “That’s not what we do” was a refrain, the source said. “Sell more ads” was another, but that came from nearly all members of top leadership over recent years whenever there was need for revenue.

All the while, rival Hearst Magazines was quietly doing everything Condé wasn’t and it’s now come out on top — with the help of a few key executives that came over from Condé (such as former magazines president David Carey and marketing and publishing director Michael Clinton) who knew where to fill in. Hearst is experiencing its own upheaval under Carey’s replacement Troy Young, who is said to be wholly uninterested in editors who show no talent for making the most of digital, but its evolution is well ahead of Condé at this point.

Now, whoever comes in to lead Condé will have to keep pushing on with a late evolution of the business and need to decide what to do with the company’s remaining print titles. Close? Digital-only? Sell? Three titles are already waiting for a buyer, and so many have already closed in recent years that Vogue, The New Yorker and Vanity Fair are the only real jewels left. GQ and Glamour, once veritable cash machines, have for years been hemorrhaging ad pages. Glamour not so long ago brought in enough revenue to float it and most other Condé magazines, but just shuttered print under a digital editor after 80 years to stem the losses.

While rumors and casual internal talk of a sale of Condé as a whole have been going on for at least two years, according to a source, either the company missed its window or lost its appetite. The publisher has since received unsolicited interest from separate buyers for The New Yorker (the only Condé title with a real subscription model anymore) and Vanity Fair (treading water under Graydon Carter replacement Radhika Jones), but rejected both, the source said.

As for what’s to become of artistic director Anna Wintour, the last vestige of the S.I. “star system,” along with the New Yorker’s David Remnick, the countdown game to her exit has begun again. Although sources noted she has no immediate plans, and Condé maintains she’s staying put, they generally agreed the likelihood of her sticking around to work for a new, likely much younger, ceo is slim. Perhaps just as slim, the likelihood that any new young gun could justify her total compensation (speculated to be in the eight-figure range), especially in light of some questionable executive decisions, like bringing in Jones at Vanity Fair, championing Teen Vogue and LQTBQ site Them, and not being able to save Self even during an ongoing wellness craze.

Lastly, the prospect of a Condé buyout from Apple, something mumbled about for many months, is also said to be empty, especially now that the consumer tech company seems to have its magazine app Texture figured out and gaining traction, along with Apple News.

“They don’t need them,” a source said. “I just don’t see a white knight coming in.”

Condé may still be hoping there is — its yet-to-be-found global ceo.

Who and What Can Save Condé Nast?
 
Is fashion queen Anna Wintour finally ready to abdicate?

Tuesday’s announcement of Condé Nast chief executive Bob Sauerberg’s impending departure from the financially challenged publishing company—with no successor in place—has prompted renewed speculation that Vogue doyenne and Condé Nast Artistic Director Wintour will soon follow him out the door.

Officially, Condé Nast continued to dismiss persistent rumors that the 69-year-old Wintour will soon move on. “She’s not going anywhere,” a Condé Nast spokesperson told The Daily Beast on Tuesday.

As recently as four months ago—ironically—Sauerberg himself insisted that Wintour would stay at the company “indefinitely.”

“She is integral to the future of our company's transformation and has agreed to work with me indefinitely in her role as editor-in-chief, Vogue, and artistic director of Condé Nast,” Sauerberg declared at the time.

Whatever her future holds, Wintour will not be working much longer with Sauerberg, who plans to stay on until a successor is named—a process that could take six months. A Condé Nast spokesperson disputed the claim of a well-placed industry insider that Wintour’s current employment contract runs out in January.

Yet unofficially, company veterans said Tuesday’s announcement makes Wintour’s exit more likely in the coming months. Among other factors, Sauerberg’s departure has coincided with a corporate restructuring that will combine Condé Nast’s U.S. and international operations under a single corporate umbrella, and install Jonathan Newhouse as the London-based worldwide chairman.

Newhouse, a cousin of the late Si Newhouse, the visionary chairman of the family-owned empire who died in 2017, has focused, since he moved to the U.K. in 1995, on launching profitable foreign editions of various Condé Nast titles in China, Russia, and Eastern Europe.

However, Jonathan Newhouse has never been a Wintour fan, and he and the Vogue editor are said to cordially dislike each other.

On the other hand, Si Newhouse’s nephew Steve Newhouse, who is chairman of Advance.net, the digital arm of Condé Nast’s corporate parent, Advance Publications, is said to highly value Wintour’s role as a creative force and business strategist.

Other members of the Newhouse family, however, have privately chafed at massive expenditures that they blamed on Sauerberg and, by extension, Wintour, especially the 2011 decision to move the New York headquarters from pricey 4 Times Square to the even more expensive location of One World Trade Center—reportedly costing $2 billion for a 25-year lease.

However, a Condé Nast veteran said the ultimate decider was Si Newhouse, who felt strongly about moving downtown as a way of helping to revitalize a Manhattan neighborhood that had been devastated by the terrorist attacks of Sept. 11, 2001.

“Until today, I was 100 percent confident that she was not going anywhere. With today’s news, it may change things”
Meanwhile, Condé Nast, along with the rest of the print magazine industry, has suffered from eroding advertising and subscription revenues over the past decade with the advent of the digital revolution. According to The Wall Street Journal, Sauerberg only recently outlined a plan to return the magazine publisher to profitability by 2020.

“Until today, I was 100 percent confident that she was not going anywhere,” said one insider about Wintour’s future. “With today’s news, it may change things.”

A second well-placed source said Sauerberg's departure will inevitably hasten Wintour's.

Since he arrived at Condé Nast 18 years ago, Sauerberg had been a close ally of Wintour’s in a corporate environment famous for long knives and backbiting—and that even inspired a Hollywood movie, The Devil Wears Prada, in which a character loosely modeled on Wintour was portrayed by Meryl Streep.

The British-born Wintour, who has been working at Condé Nast on both sides of the Atlantic since she joined Vogue as creative director in 1983, quickly became a favorite of Si Newhouse, who ultimately fired Grace Mirabella as Vogue’s editor in chief and replaced her with Wintour.

She has held that position for the past three decades, adding the titles of publisher and artistic director supervising all of Condé Nast’s magazine titles.

“She loves the company deeply, and she has embraced her role as artistic director and as a leader of the editorial side,” said a Wintour fan. “But she understands that the business needs to change.”

Will Anna Wintour Follow Condé Nast's CEO Out the Door?
 
Dirk Standen is leaving CN. He was the editorial head of CN agency and former EIC at Style.com.

There is an article on business of fashion.
 
Honestly I think it's inevitable that Anna will leave soon. It makes no sense for her to stay with this planned repositioning of Conde Nast; she'd be crazy to drive her career to the grave like that and drag Vogue with it. She will probably leave on her own terms when she feels the moment is right. Also, besides cutting costs I think one of the reasons why all members of the old Vogue team are now working on commission is so they can find styling and consulting jobs elsewhere in the meantime and be ready for the moment the team permanently dissolves. Nothing is coincidental with Anna.
 
Honestly I think it's inevitable that Anna will leave soon. It makes no sense for her to stay with this planned repositioning of Conde Nast; she'd be crazy to drive her career to the grave like that and drag Vogue with it. She will probably leave on her own terms when she feels the moment is right. Also, besides cutting costs I think one of the reasons why all members of the old Vogue team are now working on commission is so they can find styling and consulting jobs elsewhere in the meantime and be ready for the moment the team permanently dissolves. Nothing is coincidental with Anna.

She's already drove her career to the grave and Vogue with it. This January cover in which she did not ensure that Priyanka/her team signed some agreement barring them for having the wedding covered by any other magazine is the most recent glaring example. The magazine has boring, uninspired editorials and cover stars.

And the one thing everyone on these forums always gives Anna props for - her business acumen - that seems to be disappearing as well, again with this January cover and also with all the magazines Conde is shutting down with her at the helm as Artistic Director.

I think she's leaving soon too, at least I hope so, but if she really wanted to leave on her own terms she would have left this year at the latest or even taken a page from her peers (Carter, Meyers, etc.) and left sooner. Those editors left on their own terms (probably because they could see things would become even more dire for magazines). With her no longer having the protection of her biggest champion in Sauerberg I think she's on shaky ground. As I've said, I don't think they'd outright fire her, Conde will make sure Anna saves face (and the company as well) but I can totally see them throwing tens of millions at her and effectively pushing her out. The ship may have sailed for Anna leaving on her own terms.
 
Honestly I think it's inevitable that Anna will leave soon. It makes no sense for her to stay with this planned repositioning of Conde Nast; she'd be crazy to drive her career to the grave like that and drag Vogue with it. She will probably leave on her own terms when she feels the moment is right. Also, besides cutting costs I think one of the reasons why all members of the old Vogue team are now working on commission is so they can find styling and consulting jobs elsewhere in the meantime and be ready for the moment the team permanently dissolves. Nothing is coincidental with Anna.

True. I do see her leaving as well, unless she's offered a higher position than her current one. I very much doubt they'd sack her, even in the most classy way. Her situation is unique in the sense that unlike Vreeland and Mirabella, she's too synonomous with Vogue. Besides, who else will be able to convince advertisers, in the wake of the last two high level departures, that there's still value in American fashion. In CN. In Vogue?
Can the restructuring and current state of Vogue tarnish her career? To an extent, but not entirely. We've seen editors bounce back from worse departures. Carine, for instance. Robbie Myers too. Anna was clever enough to secure a connection for herself and the cult of American Vogue beyond just fashion. The fact that the Queen, in her 90s, would still endorse her to the extent of accompanying her to a fashion show speaks volumes. The fact that she personally shaped so many careers of designers, models, athletes, actresses, politicians. People don't just dismiss stuff like that. If she wasn't as powerful as she is we'd have seen Dec/Jan or Jun/Jul issues years ago. We may all want her to leave asap, but who can really hold their hand to their heart and say they can envision an equally polarising American Vogue without her? Not that I'm saying that's an excuse for her to remain. Just that when you look at her trajectory, her ascent to power, what she's witnessed over the years in the industry, do we really think THAT Anna Wintour could be left prostate?
 
I very much doubt they'd sack her, even in the most classy way.

This is America, where money reigns supreme over decency, morals, values. If Anna every ends up in a position where they'd need to sack her doing it the 'classy' way would be the best case scenario. Other people experience far worse.

At the end of the day, she's an employee, a powerful one sure, but she's an employee. And Conde doesn't owe her anything at the end of the day, especially with the dire financial straits the company is in currently. I'm not saying she'll be sacked for sure because I don't know but I wouldn't be surprised if it comes down to that.

I have a lot more to say, but I'll leave it at that.
 
True. I do see her leaving as well, unless she's offered a higher position than her current one. I very much doubt they'd sack her, even in the most classy way. Her situation is unique in the sense that unlike Vreeland and Mirabella, she's too synonomous with Vogue. Besides, who else will be able to convince advertisers, in the wake of the last two high level departures, that there's still value in American fashion. In CN. In Vogue?
Can the restructuring and current state of Vogue tarnish her career? To an extent, but not entirely. We've seen editors bounce back from worse departures. Carine, for instance. Robbie Myers too. Anna was clever enough to secure a connection for herself and the cult of American Vogue beyond just fashion. The fact that the Queen, in her 90s, would still endorse her to the extent of accompanying her to a fashion show speaks volumes. The fact that she personally shaped so many careers of designers, models, athletes, actresses, politicians. People don't just dismiss stuff like that. If she wasn't as powerful as she is we'd have seen Dec/Jan or Jun/Jul issues years ago. We may all want her to leave asap, but who can really hold their hand to their heart and say they can envision an equally polarising American Vogue without her? Not that I'm saying that's an excuse for her to remain. Just that when you look at her trajectory, her ascent to power, what she's witnessed over the years in the industry, do we really think THAT Anna Wintour could be left prostate?

What the history behind Robbie exits?
 
What the history behind Robbie exits?

Nothing dramatic or scandalous. In fact, I regard the saga as more of a testament of Robbie's reputation as an astute women's magazine editor. She was EIC at Mirabella magazine during the closing years. Despite a way above average newsstand/subscriber base (500-odd K), the magazine went bust because they couldn't drum up enough ads to sustain the content. And the magazine as a whole was unofficially regarded persona non grata in the fashion industry. Despite the mismanagement at Mirabella, she got the Elle job which lasted close to two decades.
 
Former British Vogue Editors Turn TV Drama Producers

Alexandra Shulman and Fiona Golfar have teamed with production company Bad Wolf to produce a TV drama series that tells the story of the fashion publishing world in the Nineties.

By Natalie Theodosi on December 5, 2018

MORE DRAMA: Former British Vogueeditors Alexandra Shulman and Fiona Golfar are now turning to script writing, to tell the story of the fashion media world.

Shulman, who was the British title’s former editor in chief, and Golfar, who was its editor at large, have teamed with production company Bad Wolf to develop a television drama series that will draw on their 25-year tenure at Vogue. Set in the Nineties, the series will zoom into the inner workings of a British monthly title, dubbed Gold Dust Nation, and explore the lives of the stylists, journalists and designers associated with the title in a pre-digital world.

Through the prism of the magazine, the series will also aim to explore key events of the decade from Thatcher’s reign, to the emergence of a post-recession new world order and new feminism.

“It’s an opportunity to bring to life the realities of the world of fashion publishing in a series that will have total authenticity. We will be able to showcase the real issues and real stories that occur when you combine huge creativity with human emotions and dilemmas set in a backdrop of the changing times of recent history,” said Shulman, who announced that she was leaving British Vogue last year and was succeeded by Edward Enninful.

Golfar said the show would draw on their shared experience to showcase how people find their place “in this world of perceived glamour.”

“It’s a show about love and loyalty, treachery and creativity, beauty and body image. Can these coexist when there is so much at stake in the highly charged world of fashion magazines? Between us, Alexandra and I have seen it all. From the boardroom to the bedroom, there is never a dull moment in the world of fashion,” Golfar added.

WWD.com
 
At this point in time, I would regard Anna Wintour as an iconic figure whose profile has been built up through constant reference in popular culture, rather than a shrewd businesswoman with the ability to turn most things she touches into gold.

If you're a drowning company, of course you will reach out for the apparent stability and security offered by such a figurehead. But reputation is not reality.
 
Oh! Are they remaking Ab Fab?

Lol! I'm actually looking forward to it. Alexandra's got the experience to spin such a story into entertainment, and she's a talented writer.
Ab Fab was great, but at times I wanted more of Patsy's job. It was really only dealt with in Magazine, which is my favourite episode of the lot. Rewatched it countless times.
 
Alexandra is the last person I'd associate with TV shows and entertainment. She is such a non event to me.
 
Alexandra, tv producer? Here's to hoping for a diverse cast!
 
You should read her books though, lol. I was also shocked that such a boring person could create such compelling books. Even her Vogue Diary was good.

She might have been boring in terms of what we expect of a fashion 'personality', but she did always seem to be a bookish person, so it might not be that surprising that she can better express herself that way.

As a fashion editor, it seemed that she felt the cut and thrust of fashion was beneath her, and the magazine suffered as a result.

But now she's free to comment as an outside observer of that world, and because she's far more comfortable with that viewpoint, her output comes to life.
 
wwd.com
Condé Nast Editors Already Looking at Budget Cuts
Kali Hays
3 minutes

It may be awhile before things settle down at Condé Nast.

Even before the new global chief executive officer is found, editors at all Condé titles, regardless of performance, have been tasked with identifying where and how cuts to their budgets can be made, from production expenses to possible staff reductions, WWD has learned.

While preliminary yearly budgeting is a part of any media operation and Condé is nearing the start of a new fiscal year come February, doing so with an eye on how to make cuts is something of a new standard for the publisher. And it’s said that even titles thought to be doing relatively well financially — like Vogue, Wired and the New Yorker — are under the same mandate to find what and who can be done without and how that would translate to reality. International titles, particularly those in Europe, are said to have the orders, too.

Enacting any major changes are said to await a decision by the incoming ceo, who will replace Bob Sauerberg and also take over international responsibilities from Condé scion Jonathan Newhouse, who will move to the role of chairman. Nevertheless, there is a sense that the company seems eager to get the ball rolling, or at least have it ready to roll, so the inevitable cuts from fully combining domestic and overseas operations can be swift under new leadership.

A Condé spokesman declined to comment.

Whatever next year brings, it is a time of uncertainty at the publisher. After decades at the top of the magazine industry, bolstered by a strategy of charging the most for ads and spending the most on talent, the last decade has seen Condé falter in the face of digital upheaval.

Some staffers seem apathetic to the possibility that even more jobs will be cut or they will be essentially forced to take on a freelance contract, as has been done with many big editorial names over the last year. Those that made it through the waves of cuts in recent years openly wonder what title will be next to fold print — Allure? Bon Appetit? Only a handful remain — but seem unfazed by what that could mean for their jobs.

Condé Nast Editors Already Looking at Budget Cuts
 

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