London Life prices go through the roof

November 1, 2017
London Life magazine front cover from 1966 with Laurence Olivier, blacked up for Othello

London Life magazine front cover from 1966 with Laurence Olivier, blacked up for Othello

The weekly listings magazine London Life, which was developed to replace Tatler in the 1960s, has long been a good seller on eBay, but a 1966 copy with a Laurence Olivier cover – with the actor blacked up for Othello on the cover – has just gone for £91. A Julie Christie issue from the same year fetched £71 and another issue £57.

London Life was ‘a comprehensive guide to the entertainment scene: films, theatre, restaurants, night life, music, sport’; a Time Out for the Swinging Sixties. It’s usually the earlier issues of London Life under editor Mark Boxer that fetch such high prices.

London Life profile at Magforum

London Life magazine cover checklist


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design


 

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What does a Bolshevik look like?

October 30, 2017
Portrait of a rabid Bolshevik by Charles Sargeant Jagger on the cover of War Illustrated in January 1919

Portrait of a ‘frenzied fanatic’ Bolshevik by Charles Sargeant Jagger on the cover of War Illustrated in January 1919

War Illustrated magazine left its readers in no doubt where its stood on the prospects of Russia in the control of the Bolsheviks after the 1917 revolution. This ranting maniac was portrayed on the weekly magazine’s front cover for 11 January, 1919, by CS Jagger. Inside, Sir Sidney Low wrote about the revolutionaries as ‘frenzied fanatics’.

I take this illustration to be by Charles Sargeant Jagger, one of the pre-eminent sculptors of the early 20th century. He served with the Artists’ Rifles in the First World War and created several war memorials – most notably the Royal Artillery Memorial at Hyde Park Corner (1925). There is a British Pathe film of Jagger at work.

Sir Sidney Low was a journalist during the war and edited the wireless service of the Ministry of Information. He had been knighted the year before.

War Illustrated‘s editor at Amalgamated Press was John Hammerton, one of Alfred Harmsworth’s most successful editors. War Illustrated was relaunched as New Illustrated after the war.

 


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

 


 

Britain’s princes – cross-dressing in Marie Claire magazine

October 26, 2017
The royal twee: Prince Charles as urban ethnic nomad by Joe Casely-Hayford. In the bottom right the heir to the throne is out to lunch in Franco Moschino

The royal twee: Prince Charles as urban ethnic nomad by Joe Casely-Hayford. In the bottom right the heir to the throne is out to lunch in Franco Moschino

September 1988 saw the arrival of a new magazine, IPC’s interpretation of a French title that dated back to the 1930s, Marie Claire (I know Wikipedia says it came to the UK 1941, but that just shows how unreliable it is!) It was a breath of fresh air under the editorship of Glenda Bailey. She was seen as an unlikely choice, but talked her way into the job and made a great fist of it, bringing in investigative pieces alongside the fashion. Bailey has since joined the long list of British editors to cross the Atlantic, heading up Harper’s Bazaar since 2001.

 

Hallo tailor: Prince Andrew as ship's matey in Byblos. Right, Charles at home in Moschino

Hallo tailor: Prince Andrew as ship’s matey in Byblos. Right, Charles at home in Moschino

It’s worth getting out these old copies of Marie Claire for articles such as ‘Royal makeover: The princes’ new clothes’. It wasn’t an original idea, Nova ran a piece in 1968 that had French fashion designer André Courrèges giving the Queen a makeover (it caused a storm at the time!). Marie Claire went a step further in tackling Princes Charles, Andrew and Edward – and … well just look at the cross-dressing pictures!

Boys will be boys. Prince Andrew in English Eccentrics. Edward in Rifat Ozbek and John Flett

Boys will be boys. Prince Andrew in English Eccentrics. Left, Edward in Rifat Ozbek and John Flett

Here’s what Marie Claire said at the time:

If the Royal family has become nothing more than a collection of clothes-horses, we know who to blame, don’t we? The Princess of Wales (5ft 10in, pencil slim) transformed herself from little-girl-lost into Miss United Kingdom as if she’d been anticipating the event since birth. The Duchess of York (5ft 8in, rolling gait) exacerbated the situation by contrast: she caught the public imagination as the All England land girl. Even the Princess Royal (5ft 7in, very ordinary) has suddenly acquired an incongruous interest in fashion.

The Princes, however, have been cruelly denied the opportunity to follow in the wake of their womenfolk. Protocol decrees that these unfortunate patricians should appear publicly in sub-Next and privately in the limited shades of country compost. Sympathetic to their predicament, Marie Claire asked designers Joe Casely-Hayford, Franco Moschino, Rifat Ozbek, John Flett, English Eccentrics and Byblos to give Princes Charles, Andrew and Edward the same equality of opportunity as their female counterparts.

Knowing that this would be a difficult creative task, we did not ask them to design for the actual Royal physique, nor did we specify whether the ensembles were for state occasions or intimate At Homes, but our philanthropy may result in a new age of elegance for the Royal male. Windsor change?


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 


 

Google’s plan for a future city is terrifying

October 20, 2017
Schmidt, Trudeau and pals set out their plans for a 12-acre site on Toronto's waterfront

Schmidt, Trudeau and pals set out their plans for a 12-acre future city on Toronto’s waterfront

We started thinking about all the things we could do if someone would just give us a city and put us in charge

That has to be one of the scariest sentences I have ever heard. Why? Because it was said by Eric Schmidt, the billionaire chairman of Alphabet, the company set up to own Google.

This is the mega-tech company that sent its camera cars around around our roads – without anyone’s permission – and just happened to identify everyone’s open wifi while it was at it.

Google then ignored its own promise not to track people using the private windows in their browsers, and it has been found guilty of using its massive online power to force out smaller rivals by putting its own products first in search results. In simple words, that’s lying and cheating. No wonder the EU slapped Google with a €2.4bn fine.

Yet no-one except China, the US and the EU is big enough to stand up to the likes of Google/Alphabet, Apple, Facebook, Amazon, Ebay and their pals. The Schmidt quote comes from a report in the FT on Thursday (‘Toronto offers Alphabet waterfront land to practise designs for cities of future’ by Leslie Hook). He was talking at a publicity event with Justin Trudeau, Canada’s prime minister.

The FT piece points out that there is a ‘political backlash against big tech in the US, where politicians are grappling with the growing influence of Alphabet, Facebook and Amazon’. However, these mega-techs just play the global field and look to wield their influence with individual countries such as Canada or the UK for their schemes.

My reaction to the FT story is no doubt influenced by my efforts to do something very simple with Apple this morning. This mega-tech set its stall out with the launch of the first Mac way back in 1984. It forced all software makers to adopt its interface or it would not give them access to developers’ kits – even those that already sold software for Apple’s micros. The result was that many of the thriving small software companies in Britain turned to PC technology, or give up.

The level of control is incredible. I booked an appointment at an Apple dealer in the Strand, London, to see if I could get my Macbook power supply cable repaired (and I note as I type this that WordPress tries to cap up the ‘b’ in Macbook, another example of Apple’s Ratking-like power). I walked in and handed over the broken power supply. (How can they get away with such shoddy products – in almost 40 years of owning computers, I have never had a power cable break.)

‘What’s the serial number of the Mac?’ they asked. I didn’t know, which meant that they couldn’t do anything! They then sent me over to the Apple shop in Covent Garden. It was like walking into a youth club full of ping-pong tables. I eventually found a rack of products and a new power lead was £79! I asked about getting it repaired and was sent to join a dozen-strong queue for the one person in the room who could (perhaps) answer the question.

I gave up. I decided to pay up. And, of course, I had to find someone who has the portable device to pay. And then wait again while they printed the receipt out. I left with a massively overpackaged product, having been frustrated in my attempt to repair ought in an inefficient shop staffed by 90% men. Clearly, Apple is a company at the forefront of the world’s waste problems and at the back of the field in attempts to encourage women into the workforce.

They and their mega-tech ilk want a world in which they can track you and everything you own. Their futuristic city (for a waterfront-living elite) will be very efficient with huge political clout. Alongside it will be a licence to take a cut of – in essence, tax – the world’s media use, of books, film, TV, software. And 3D printing technology will enable them to do the same for many other products too.

If George Orwell hadn’t had Stalin’s Russia to inspire him to come up with 1984 and Big Brother, then Google and Apple wold have done it for someone else today – or perhaps it is the mega-techs that are modelling themselves on that dystopian, fascist world.

Maurice Rickards: ephemera and magazines

October 14, 2017
Maurice Rickards merged two images in the dark room for this image manipulation cover on Man About Town in 1959

Maurice Rickards merged two photographs in the dark room for this image manipulation cover on Man About Town in 1959

Maurice Rickards is one of the unsung heroes of graphic design. Although he wrote several books – and Michael Twyman completed his Encyclopedia of Ephemera – the godfather of modern-day ephemera is rarely written about. Even Wikipedia, that great hoover-upper of everybody else’s research and websites, has yet to acknowledge his existence. Only the Independent gave him an obituary (by Patrick ‘Book of Firsts‘ Robertson, a former chairman of the Ephemera Society who claims to own the largest private collection of vintage magazines in Britain).

Rickards trained as a photographer but collecting the fleeting printed objects of everyday life – particularly posters – was his joy and he appears to have made a living from his Fitzrovia basement studio as an illustrator, photographer and magazine designer. It was his enthusiasm that led to the creation of the Ephemera Society, its offshoot in the US and the Centre for Ephemera Studies at Reading University under the direction of Professor Twyman.

Maurice Rickards poster-style cover design for Man About Town (spring 1956)

Maurice Rickards poster-style cover design for Man About Town (spring 1956)

I never met the man, but came to some idea of his approach to design through the pages of Man About Town under the editorship of John Taylor in the 1950s (before it was bought up by Michael Heseltine’s Cornmarket). Later, when researching books about British magazine design and Alfred Leete’s Kitchener poster, I discovered his books on posters.

The spring 1956 poster-like cover of Man About Town is credited to Rickards, as is autumn 1958, so he was probably working as a freelance designer on the magazine in those years. I particularly like the latter example, which is described as being inspired by the squiggle shape that he came across.

Maurice Rickards ephemera-inspired cover design for Man About Town (autumn 1958)

Maurice Rickards ephemera-inspired cover design for Man About Town (autumn 1958)

The autumn/winter i959 issue at the top of this post was the last Man About Town under Taylor and perhaps that is why it gives a big showing to Rickards’ work. He had done several earlier covers designs but this one gives an opportunity for his ‘crackpotography’ ideas, along with a five-page article.  The text reproduces some of his ‘eccentricities’ in ‘Rickards’s howdoneit’, an article based on his book, Off-Beat Photography (The Studio, 1959), about image manipulation. In Man About Town‘s inimitable style, the magazine  describes that the woman sitting on Rickards’s head cover is easily explained:

It is not that we used a particularly small girl; it is merely that Rickards himself has such a big head.

Offbeat Photography by Maurice Richards

Offbeat Photography by Maurice Richards shows Rickards with an axe in his head on the dust jacket

In the article, the captions explain how each photograph was composed and how shadows were added using an airbrush or avoided. A man shown balancing on a glass using just one finger needed 50 or 60 exposures before Rickards got it right. A skull and Luger photo was for a book, named as Skeleton Island. In fact, this looks to have become A Twist of Sand (1960) by Geoffrey Jenkins and was made into a film eight years later starring Richard Johnson and Honor Blackman. The cover used a variant of the photo, without the gun.

Another photograph of what looks like the aftermath of a massive road accident  harks back to a poster campaign he did right at the start of his career in 1953 – Lives Matter. Three posters were commissioned by the Royal Society for the Prevention of Accidents, showing a woman collapsed over a telephone, a one-legged boy on crutches, and a little girl in the arms of a policeman. According to Patrick Robertson’s obituary, such was the horror they generated that they were banned by various local authorities, were defaced on hoardings and prompted ‘harsh letters’ to editors and MPs.

 

 

Punch magazine’s horn of plenty

September 28, 2017
Morten Morland cartoon from The Times newspaper showing Labour shadow chancellor John McDonnell with his mouth depicted as a Punch-style horn of plenty

Morten Morland cartoon from The Times newspaper showing Labour shadow chancellor John McDonnell with his mouth depicted as a Punch-style horn of plenty

The Times this week ran a Morten Morland cartoon showing Labour shadow chancellor John McDonnell with his mouth depicted as a horn of plenty – a cornucopia. This is a reference to an idea that goes back a couple of thousand years to Greek mythology. But it is a classical allusion that was very much kept alive by Richard ‘Dicky’ Doyle with his famous Punch magazine cover design that developed from 1844.

The horn of plenty from the left side of an 1847 Punch cover

The horn of plenty from the left side of an 1847 Punch cover

Buyers of Punch – just 6,000 of them each week in the satirical magazine’s early days – are the sort of people who will have had a classical education and so would be aware of the idea of a goat’s horn or horn-shaped basket overflowing with produce. It’s associated with Zeus, Hades, Hercules and Gaia.

In the case of McDonnell, he’s spouting forth a stream of policies at the Labour party conference; for Dicky Doyle in 1842, it was a cornucopia of fun, wit and entertainment.

The Punch cover is often described as never-changing, but that it not the case. The earliest issues from July 1841 showed a Punch and Judy stall. That idea stayed in place until the 20-year-old Doyle’s Mr Punch and his dog design took hold in April 1844. And there were several versions of that, though the main elements, full of classical references, stayed constant.

RGG Price’s History of Punch (Collins, 1957) states the frieze at the bottom was based on Titian’s Bacchus and Ariadne.  What appear to be the words ‘Exhaustive wit’ exude from the horn on the right, and ‘fun’ on the left. It is ‘satire’ that is raised up towards the heavens on the right among a multitude of mischievous imps, fairies and cherubs.

The cover of Punch magazine's almanac of 1842 by Halbot K Browne ('Phiz')

The cover of Punch magazine’s almanac of 1842 by Halbot K Browne (‘Phiz’)

This 1842 almanac cover is initialled HKB – Halbot K Browne – ‘Phiz’. He was one of five artists who did early covers for Punch (the others being Archibald Henning, William Harvey, John Gilbert and Kenny Meadows).

The engraver is also credited, Ebenezer Landells. He was one of the founders in 1841 of Punch, and acted as art editor, along with the journalist Henry Mayhew and William Last as printer.  This almanac sold very well and may have saved the magazine from closure, because sales had been running at 6,000 a week whereas they needed to sell 10,000.

However, the financial problems led Last to pull out in favour of working with Herbert Ingram on Illustrated London News. Landells had to sell his share to Bradbury & Evans, the publishers. Bradbury & Evans replaced Landells with Joseph Swain and gained complete control in December 1842. Swain was not credited on the covers.

Although Doyle’s design won out in 1844, it took five years to settle down into the image that lasted until 1956, when one-off colour covers by the likes of Ronald Searle became the norm. In particular, the detail of Mr Punch in the bottom frieze was altered in response to criticism that it was crude, a drawing of a British lion replaces the Punch stall on the easel and the circus typeface for the title was turned to wood, in a mockery of  the German illustration style of artists such as Alfred Rethel.

Times readers run the country – and the FT is read by psychopaths

September 27, 2017
1981 Guardian cutting profiling the readerships of Britain's newspaper - a version of which was used in the TV series Yes Prime Minister

1981 Guardian cutting profiling the readerships of Britain’s newspaper – a version of which was used in the TV series Yes Prime Minister

Times readers run the country,
Telegraph readers think they run the country…

It’s a great little ditty that makes most people think back to the TV series Yes, Prime Minister from 1987. In fact, I reckon it was popularised by the cutting above, which I tore out from the Guardian – but omitted to date – in the early 1980s.

It wasn’t around on the web until I stuck it up on Magforum some time before March 2005, but since then its use has mushroomed. Americans in particular seem to like it.

I’ve tried to date the cutting. On the back is a golf report that refers to the world’s top players, so it’s unlikely to be a US-only tournament. It appears that three US golfers, Tom Watson, Bill Rogers and Ben Crenshaw are in the lead in a championship match over three rounds of the 18 holes that started with 153 players who had been whittled down to 81 and then 60. The piece refers to Watson being the holder. His big wins were:

Masters Tournament: 1977, 1981
US Open: 1982
The Open Championship: 1975, 1977, 1980, 1982, 1983

This suggests the cutting is about the 1981 Open, which was held at Royal St George’s in Sandwich on July 16-19. Watson was the holder, Crenshaw played and the cup went to Rogers. The stats on the players were:

153 players
83 after 1st cut (81 according to the Guardian)
61 after 2nd cut (60 according to the Guardian)

The report, then, probably appeared on Saturday, 18 July.

So that makes it six years before the ditty was cited in Yes, Prime Minister. It wasn’t the same version, though, which Wikipedia put up some time in 2007:

Hacker: Don’t tell me about the press. I know exactly who reads the papers: the Daily Mirror is read by people who think they run the country; The Guardian is read by people who think they ought to run the country; The Times is read by the people who actually do run the country; the Daily Mail is read by the wives of the people who run the country; the Financial Times is read by people who own the country; the Morning Star is read by people who think the country ought to be run by another country; and The Daily Telegraph is read by people who think it is.
Sir Humphrey: Prime Minister, what about the people who read The Sun?
Bernard: Sun readers don’t care who runs the country, as long as she’s got big tits.

What’s brought all this to mind? Well, finding the cutting yesterday for one. And second, a fascinating insight in a Guardian news item about what sort of music psychopaths prefer. The answer is rap – with the  Blackstreet hit No Diggity and Eminem’s Lose Yourself getting a high rating. At the end of the article comes this par:

Kevin Dutton, a psychologist at Oxford, and the author of The Wisdom of Psychopaths, has been gathering data on musical tastes and other preferences for a psychopath study with Channel 4. More than three million people have responded so far, and while online surveys have serious weaknesses, the results so far suggest psychopaths favour rap music over classical and jazz. They also seem more likely to read the Financial Times than other newspapers.

Now that really is weird, because the FT has a tiny circulation compared with tabloids such as the Sun, and even other quality papers such as the Times and Telegraph.  An little extra insight comes from a 2012 Scientific American article by Dutton:

Jon Moulton, one of London’s most successful venture capitalists, agrees. In a recent interview with the Financial Times, he lists determination, curiosity and insensitivity as his three most valuable character traits. No prizes for guessing the first two. But insensitivity? The great thing about insensitivity, Moulton explains, is that “it lets you sleep when others can’t”.

So, there you go, it’s all about the silence of the nights of the venture capitalists.

Profiles and histories of Britain’s national newspapers 

How Kitchener inspired the nation for Dunkirk

August 4, 2017
Picture Post for the week of 1 June 1940

Kitchener leads the nation again in the week of Dunkirk from the cover of Picture Post (1 June 1940)

Christopher Nolan’s film Dunkirk has certainly brought the legend of the ‘Little Ships’ armada that rescued so many Allied troops back into the world’s imagination. In 1940, the media that the British will have turned to was BBC radio and Picture Post magazine.

And the image that editor Stefan Lorant chose to put on his magazine’s front cover the week of Dunkirk was Alfred Leete’s Your Country Needs You. It was a cover that will have gone to press before May 29, when the evacuation was announced to the British public. But then Lorant may well have known what was happening to the British Expeditionary Force through his contact with Churchill.

Boat owners certainly responded to the call – making up the bulk in number of the 860 vessels that were involved.  Some 200 of the small craft that epitomised the Dunkirk spirit were sunk. However, by the time the operation ended on June 4, 198,000 British and 140,000 French and Belgian troops had been saved. Another 220,000 troops were rescued  from other French ports.

The presence of this force was undoubtedly a factor in forcing Hitler to rethink his invasion plans, but the war was not going well for Britain – its allies were dropping like nine pins – and Lorant must have been in more fear for his life than most people in Britain. Lorant was a Hungarian Jew who had been imprisoned by Hitler for his work on weekly papers in Germany. In Britain, he promoted the work of many other Continental exiles, including Walter Trier, who drew the Lilliput covers for 20 years, the photographer Bill Brandt and the photomontages of John Heartfield, probably best remembered for his Elephants Might Fly reaction to the Munich agreement (15 October 1938).

Lorant had lambasted the Nazi regime in his book, I Was Hitler’s Prisoner, which was turned into a BBC Radio play; in the pages of Weekly Illustrated, which he had launched for Odhams in 1934; in the delectible Lilliput, which he founded, as well as Picture Post. So he must have been well up on Hitler’s hit list.

Walter Trier's cover for first Lilliput magazine in 1937

Walter Trier’s cover for first Lilliput magazine in 1937

Soon after Lorant went to America in mid-1940, Picture Post‘s two most important cameramen – Felix Man and Kurt Hutton, both German emigres – were interned on the Isle of Man. The magazine set about negotiating for their release, but their fates will not have assuaged Lorant’s fears and he emigrated to the US. As Lorant told his deputy Tom Wilkinson, who went on to become editor of Picture Post:

‘You British citizens will be all right – all you’ll lose is the freedom to say what you think. But we bloody foreigners will be handed over … I’ve been Hitler’s prisoner once in Munich, I’m not waiting for him to catch up with me a second time.’

The Kitchener-covered Picture Post issue was larger than usual and was focused on Britain’s leaders, with 32 pages devoted to government members. Lorant was a big fan of Churchill. The section starts with photographs comparing a ‘grimly determined’ Churchill in 1914 with him ‘grimly determined again’ in 1940.

Back in February 1939, Lorant had sent Wickham Steed, a former editor of The Times, and cameraman Felix Man to Chartwell and interview Winston Churchill at his home. As David Marcou writes in his thesis, ‘All the Best’:

‘Churchill – the man the Tories didn‘t trust – was no more than a backbencher under the Chamberlain administration. He‘d held no office since being Chancellor of the Exchequer under Stanley Baldwin a decade before. Steed concluded his profile: “His abiding care is the safety of Britain, the Empire and the Commonwealth. Should some great emergency arise … his qualities and experience might then be national assets; and the true greatness, which he has often seemed to miss by a hair‘s breadth, might, by common consent, be his.” In its introduction, Picture Post added its own prophetic comment: At 64, the greatest moment of his life has still to come.’

Picture Post covered the German offensive with a dramatic story―’Blitzkrieg’ in the June 8 issue.

‘The lightning war smites Europe. It blisters its way between the Allied Armies, cleaving them in two. It carves out a charred road to the English Channel. It scorches the Belgian Army and stuns the Belgian King into surrender.’

Alongside the words is a full-page photo of a man with a girl lying nearby, which tells the story of what war was doing to innocents. The picture caption reads:

We dedicate this picture to the Fuhrer. We dedicate this picture to the ‘moderate’ Goering. We dedicate this picture to those of our own politicians who promised us that Germany would never be allowed to attain air-parity with Britain; that they had secured peace for our time; that they were abundantly confident of victory … It shows a Dutch father wounded all over, but forgetful of what he is suffering. The dead girl on the corner is his daughter.

It’s no wonder that Lorant decided to put the Atlantic ocean between himself and Hitler. However, he had burned his bridges well before. As I point out in A History of British Magazine Design, Tom Hopkinson identifies the seven pages of ‘Back to the Middle Ages’ (26 November 1938) as ‘the finest example of the use of photographs for political effect’. He describes how Lorant drew up the pages to hit back at ‘This bloody Hitler. These bloody pogroms!’

Immediate launches mindfulness magazine, ‘In the Moment’

June 24, 2017
Immediate Media launched In the Moment with a July 2017 cover date to cater for women interested in mindfulness

Immediate Media launched In the Moment magazine with a July 2017 cover date to cater for women interested in mindfulness

Immediate Media, the Radio Times and Top Gear publisher, has launched a new monthly magazine, In the Moment. The title aims ‘to help women make the most of every day with mindfulness, creativity and wellbeing’.

The title went on sale on 22nd June, with a 116-page first issue. The focus is on ‘positive’ features and stories with a ‘light-hearted approach’ to inspire readers.

The plan is for each issue to carry Take a Moment, an eight-page, handbag sized mini-magazine, with a ‘soothing’ drink recipe, short story and puzzle. The first issue included a choice of ready-to-frame prints and card templates for pocket-sized greeting boxes.

Cath Potter, Immediate publishing director, said interest in mindfulness had ‘grown enormously’ in the past five years with people ‘crying out for ways to slow down and tune out’. She added: ‘We want to find space within our busy lives to notice things and remember to enjoy them. In The Moment recognises that being more mindful doesn’t need to be heavy-going, and that it needs to fit within your lifestyle.’

Sad times for great magazines in uncaring Time Inc hands

June 23, 2017
Sales of fashion monthly Marie Claire once rivalled Cosmopolitan

Sales of fashion monthly Marie Claire once rivalled Cosmopolitan – but are now half

Had an email yesterday morning from the editor of one of the biggest Time Inc UK weeklies asking for a correction to my listings – I had mistakenly said the title had closed. No problem I thought, but the request seemed a bit odd until I saw this Press Gazette headline later in the day – ‘UK magazine giant Time Inc puts 111 journalists at risk of redundancy‘.

Time Inc wants to group editorial staff on some of its biggest titles into one central ‘hub’, says Press Gazette. Really bad move – the result will be to blandise the titles and diminish their identity. No doubt it will also be the harbinger of more cuts to come. Central subbing units tend to be ideal targets for ‘outsourcing’ or moving to the far corners of the country.

The magazine titles involved include Woman & Home (£4.30; sales 319,000; 36% subs; about 10% multi-packed), Marie Clare (£3.99; 153,000 sales; 20% subs; 15% frees) and Look (90,000 fortnightly; 3% subs; 11% frees). Digital circulation adds about 1,000 to each figure. That’s two very different monthlies and a fortnightly all expected to be put together by the same people. I’m surprised the French owners of the Marie Clare name haven’t objected.

The company wants to cut 300 staff globally.

I felt it was bad news when the IPC owners sold the company to US-based Time Inc, and particularly when they dropped the IPC name. The moment you become a bracketed subsidiary of a company that ends in ‘Inc’, it never ends well (is it Time Inc (UK) or Time (UK) Inc? Should there be a Ltd at the end of that too?). So it has proved. The US owners have done nothing but sell off titles and have even sold their Blue Fin headquarters building in Borough, London, to lease it back. hardly the actions of a company in it for the long term.

In a recent post, I identified Country Life as a title that would be better off in other hands, rather than the business park in Farnborough that it gives as its address nowadays.

It’s a sad day that once-great names such as Newnes, AC Pearson, Odhams, Amalgamated, Fleetway and IPC – the ‘Ministry of Magazines’ of the 1970s – have been reduced to a ‘garage sale’ of brands in the hands of uncaring American masters.


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design