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Discussion in 'Magazines' started by MDNA, Apr 6, 2021.
I only like Selena and Binx’s cover so far but I HATE the font.
Okay, I expected worse before opening the thread. Natalia by Roversi will forever be a win in my books, the rest can go. I hate the disconnect between each of these covers, it looks like it could be half a year's worth of issues because there's no cohesiveness whatsoever. From casting to styling to overall vibe of the cover, I mean it's so obvious they have no idea what they're doing. And Kim Jones... please. Half of his first show is here on the covers, so predictable. Surprised there's no Lila, but I guess Stella is the next best thing.
Overall, not as terrible as it could've been so I guess I give it a pass... whatever. Vogue Italia has become as irrelevant as Vogue HK at this point.
They are so desperate to “be cool” that is sad sad sad.
And Carlos Nazario? Mmm next
The cover with Malika is pretty nice but for the rest... it's all so random and all over the place. The worst part is not the whole gimmicking around but that even this became so predictable. Such a shame.
Well, if I was him I would rather concentrate in design a decent collection. Or to call some guest editor to join me at Dior and Fendi in help doing it.
He told vogue.pl that he doesn't care about readership because they always have very small circulation. (I think his salary is not very high.) He prefers employ people without fashion world background, because they have better view on fashion lol... and the white coronovirus cover had sold off all circulation.
I read a few inteviews with him in diffrent languges and he always mention Franca Vogue, but it always sound like as little jealousy.
I actually like the concept, but the covers are (unsurprisingly) ugly.
Vogue Italia needs to stop this edgy phase and focus on FASHION instead.
Wow he sounds like a prententious douche! Im not sure is he is jealous of Franca but he wants to distance himself from Her, and he did it... Do you have the link?
When Sims' son, who looks a solid 14yo, gets to style a Vogue cover, you get a good and proper taste of how messed up this industry is.
If I read one more critique on how we need to 'choose wisely' when it comes to casting little known/unknown stylists and photographers, I swear.
I only like the Binx/Forrest cover. Not even like, I think it's an ok image. That's it.
The rest can all be binned. And how random is it to cast Demi among all these models?
Believe me you, I was on my phone when I saw this thread, but I stood up, opened my computer, and warmed up cause I knew it will be a long post from my end yet again.
There are decent covers (Natalia, Demi, and Malika's), but the rest are rubbish. "The many friends" issue? Honey, where are your friends to tell you that you've been publishing garbage for years now?
And what in god's name is up with that Interview-like masthead? And the art direction is the cheapest art direction I've seen since Vogue Taiwan was revamped.
Vogue Italia is exactly what you get when an Editor is surrounded by enablers.
And yes, I will never get tired of 'dragging' his direction. An utter humiliation.
Careful, in magazine speak it would mean mission accomplished. They want you to fervently like or loathe a cover. Anything in between is a failure.
I looked at this thread 3 times before bothering with a response (which was based on something someone else pointed out anyway). The thread title alone was off-putting enough. That's how over it I am with Farneti'c VI.
I actually wish TFS stops riding with Farneti's hideous thematic issues. Let's call it as it is "Vogue Italia April 2021: Demi, Natalia, Malika, et al by Various Photographers"
The Blank Issue / The Animal Issue > Vogue Italia Month 2021
Well, this feels to me pretty much the same as it was looking at Franca's son (Carrozzini) shooting for Vogue Italia back then.
This only half interview about people was in print version.
W kwietniu ubiegłego roku, w reakcji na wybuch pandemii, „Vogue Italia” miał pustą okładkę, bez zdjęcia.
Sprzedał się cały nakład. Nieźle jak na magazyn o modzie „bez okładki”. I jak na edycję, która według wpisu na Wikipedii, przytaczanego ze śmiechem przez Farnetiego, uchodzi za najmniej komercyjną ze wszystkich „Vogue’ów”. – Ale za to za najbardziej wpływową – podkreśla.
Nie, żeby Wikipedia się myliła.
– Nie mamy wysokiego nakładu. Dzięki temu możemy pozwolić sobie na wilka na okładce. Nie musimy pokazywać celebrytów ani influencerów. Mamy wybór. Raz jesteśmy bardziej polityczni, innym razem się bawimy. A kiedy przyszedł lockdown, mogliśmy spróbować czegoś jeszcze innego. Nigdy nie mieliśmy jednej, spójnej, na stałe określonej linii naszego magazynu, której trzeba się kurczowo trzymać. Niektóre tytuły starają się zawsze dawać czytelnikom to, czego się spodziewają. My chcemy zaskakiwać. To jest wpisane w nasze DNA – mówi Farneti.
Kim jest redaktor naczelny „Vogue Italia”
Other interview from 2017:
“They’ll just have to close it,” the friend said to Mr. Farneti. “No one is going to be able to follow her. There’s nobody.” Mr. Farneti made some noncommittal noises. Then he changed the subject. Because what his friend did not know was that he had already been offered — and accepted — the job.
“I understood why she said it,” Mr. Farneti said dryly a few months later in the lobby of the Hôtel Costes in Paris, drinking a Coke. He was in the city for the couture shows and was wearing a Prada suit, Church’s shoes (Prada owns Church’s) — and a Swatch.
“I wouldn’t have thought of me necessarily either,” he said.(...)
For a start, Mr. Farneti said: “I am not Franca.”
At Italian Vogue, a New Beginning (Published 2017)
It must have been gratifying therefore, when his first issue sold 74,000 copies, up 16.7 per cent from 2016. “Well, it’s not such a huge number,” he says with typical modesty, “but it’s significant that you can raise the circulation, because no one thinks that’s possible these days.” There were two September covers (which together sold 94,300, up five per cent on 2016), one featuring two female models kissing, the other two males – both part of an osculatory photographic portfolio that featured in the magazine’s celebration of LGBT issues. “It’s good to be controversial. Not for the sake of it – this is still a super Catholic country – but because they were part of such a beautiful story. We also introduced a new column in that issue called Manifesto, and the first one was an open letter to the Italian minister of tourism because apparently Italy’s record of attracting LGBT tourists is pretty bad…”
So is Italian Vogue’s future one of decorative social campaigning? “Franca was already doing that, and I want to do much more. If you can get a lot of people talking about an issue and sharing it on social media then they might actually end up having the curiosity to buy it.”
Farneti’s wife worked for a digital agency – although since he became Vogue editor, she’s at home looking after their two young children – but there was much discussion in the Farneti household about their social media strategy before the Kiss issue. “What’s interesting is that it outsold, by some quantity, the Madonna cover we did in February, which was our other highest.”
That may be more a symptom of Madonna’s waning star wattage than the death knell of celebrity obsession, but it does point to a multi-textured debate that magazines, if they’re smart, can be part of. Teen Vogue, which decreased its print output to four times a year last December, has unexpectedly gained a large online readership by engaging in political topics.
From: Emanuele Farneti, editor of Italian Vogue, on succeeding Franca Sozzani and the state of the magazine industry
Where is a 6th cover?
An extract From BOF article about this issue
“Emanuele Farneti has adopted a notably experimental approach since hebecame editor-in-chief ofthe magazine in 2017. Once, it was the apogee of the most glorious, artful fashion imagery in the industry. Now, it feels like the reflection of a young creative community. And that was why Farneti was drawn to Jones. He thought Kim had built something similar through “his great love and flair for surrounding himself with talented people.” Farneti felt it was a now-or-never moment to propose a pooling of the two communities. “At times like these, heaven knows how central the sense of sharing is to our lives.”
Jones seized the opportunity. “I wanted to express where we were in the world at the moment through this magazine, working with friends and people I love. But I’ve also asked people I don’t know to do things as well. I’ve just mixed it up, how the world should be mixed up. I think that’s something I’ve been missing.”
The issue’s cover line, “Many friends have helped us in writing this book,” adapts the first line of Virginia Woolf’s acknowledgements for her 1928 novel Orlando. “We thought that was a nice way to start,” says Jones, who is a Woolf obsessive. On one of the six covers, Demi Moore, star of Jones’ Orlando-influenced couture debut at Fendi, is holding one of Jones’ six copies of the book. Brett Lloyd is the photographer, Alister Mackie is the stylist, both of them longtime members of the Jones community. “We were looking at the classic Vogue covers, celebrating in a timeless way a woman who’s so beautiful at a certain age.”
In the trashbin with raccoons.
I was expecting something really bad just by reading the thread´s title but I really like Demi´s cover
The consistency in being bad kind of reminds me of Dolce & Gabbana's trajectory. Let's put some Italian stickers on the cover and it'll turn artsy! Famiglia!
Maybe the 6th cover goes to Kate or Lila or both...