Posts Tagged ‘vogue’

The week in magazines: in and outs at Vogue

April 16, 2017
Arabic language cover of Vogue. Abdulaziz lost her job as editor on Thursday

Arabic language cover of Vogue Saudi Arabia. Princess Abdulaziz lost her job as editor on Thursday

Well, what a week in magazines. It’s difficult to have missed Edward Enninful as the the new editor at the century-old British Vogue, but did you hear what happened at the title in Saudi Arabia? They lost an editor princess, no less. And back in the UK, Relx has sold its iconic title, New Scientist.

The arrival of Edward Enninful at British Vogue is seen as marking a switch to a more digital focus, with Alexander Schulman having wrung as much from print as there is to find. It is also the start of the change of the old guard, with Albert Read – Enninful’s boss in New York – set to take over from Nicholas Coleridge as MD of Condé Nast UK  on August 1st.

But Read does not inherit the whole of Coleridge’s brief. Wolfgang Blau, digital chief of Condé Nast International, will take over as president of the international side. The fallout from the shenanigans in Saudi Arabia will no doubt still be reverberating then.

Princess Deena Aljuhani Abdulaziz was sacked on Thursday as editor of Vogue Arabia after just two issues. Abdulaziz – described last year as ‘a beacon of fashion in the region’ was appointed for the launch in July 2016. At the time, she said:

Don’t forget that we understand luxury almost better than anyone else on earth. Middle Eastern women have been serious couture clients since the late 1960s. We’ve been around long before the Russians and the Chinese ever came into the picture

Abdulaziz put Gigi Hadid, a Palestinian-American model, on her second Vogue cover

Abdulaziz put Gigi Hadid on her Vogue cover

However, putting Palestinian-American model Gigi Hadid wearing a veil on the cover for the first issue in March proved controversial. Cries of ‘cultural appropriation’ and accusations of plagiarism have bounced around social media.

Abdulaziz has since been quoted as saying:

I refused to compromise when I felt the publisher’s approach conflicted with the values which underpin our readers and the role of the editor-in-chief in meeting those values in a truly authentic way

Manuel Arnaut, a Condé Nast veteran and editor of Architectural Digest in the Middle East, has been parachuted in to calm things down. He has worked  as a writer and editor at both Vogue and GQ in Portugal.

So, that’s three editions of Vogue with men at the helm.

Madonna on Vogue covers

Vogue profile


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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Enninful ends the male ‘white-out’ at Vogue

April 11, 2017

Edward Enninful has been fashion and creative director at W magazine since 2011

Edward Enninful has been fashion and creative director at W magazine since 2011

Much of the coverage about the arrival of Edward Enninful as editor of Vogue talks about ‘surprise’ in the fashion industry. He may be the first male editor-in-chief of the British edition of the title, but Condé Nast, who founded the US original in 1892 based on a French magazine, was hardly a woman. Somehow, the company always seem to generate surprise at these announcements – just look back at Alexander Shulman’s appointment. But Condé Nast tends to promote from within and, as the creative director of W, Enninful has been under the nose of Jonathan Newhouse, the big chief, in New York for six years.

Of course, he is a rare black editor at a big Western magazine. How many others are there? I remember commenting on the loss of Helen Bazuaye as a black editor back in 2004 when 19 closed. And former Cosmopolitan editor Linda Kelsey has blamed the conservative nature of the industry for the lack of black models on magazine covers.

Shulman has had a hard time at Vogue from Naomi Campbell, who was first black model to appear on the covers of Vogue in the UK. Campbell attacked Vogue in 2008 for not putting her on the cover often enough. Shulman dismissed the comments as ‘a PR thing’, saying ‘Campbell was just trying to get publicity for the event she was doing’. Campbell has also claimed that an Australian magazine editor lost the job after putting Campbell on the cover.

Enninful, who is a 45-year-old Ghanaian-British stylist, will take over as Vogue’s 11th editor on August 1, following Shulman after her quarter-century stint. She will be a hard act to follow, with circulation doubling under her tenure to 220,000 copies a month. She was also lauded in the press for last year’s centenary celebrations campaign for the title, with a National Portrait Gallery exhibition, a BBC TV documentary and a Duchess of Cambridge cover.

He joins Emanuele Farneti, editor of Italian Vogue, as a man running an edition of the US-owned fashion monthly. Farneti, like Shulman, was editor of men’s monthly GQ, before moving across to the bigger woman’s monthly.

Enninful was touted as the world’s youngest fashion director when, aged 18, he took the post at Terry Jones’s i-D. and has spent the past six years as creative director at W in New York. His campaigning side has come out with his talk of ending the ‘white-out’ he sees on catwalks and in magazines and he styled Italian Vogue’s Black Issue back in 2008.

Enninful has more digital savvy than Shulman, judging by the success of ‘I Am an Immigrant’ video he released on W’s website after Donald Trump’s travel ban. With print sales under the cosh, ad revenues and digital presence will provide the benchmarks on which he will be judged.

This month in magazines: Vogue’s 1977 green jelly

February 9, 2017
Vogue's February 1977 green jelly cover was by Terry Jones

Vogue’s February 1977 green jelly cover was by Terry Jones

I always get something out of interviews with Terry Jones because he always wants to spill the beans about something. The details make life at Vogue come alive behind the oh-so-made-up corporate face of Condé Nast, with stories of cover transparencies being lost in bins, rows with all the ‘suits’ who want to push in and change things, and his attempt to get a nipple onto his last cover as art director.

I wrote a piece last year for the sold-out last issue of Gym Class about cover design rules, and Jones epitomises the final rule – break them all!:

For every rule, there’s a cover that broke it yet was a tearaway success. Black for the cover didn’t work for Talk in the US – yet it was the signature colour for Willy Fleckhaus on Twen. He produced a classic, but who’s done it since? … One day the rules here will be built into InDesign and Photoshop. For now, and probably even then, it’s up to you to test the rules, make mistakes and learn what works for your magazine.

Jones – who was made an MBE in the 2017 honours list for services to fashion and popular culture – founded the punkish, dot-matrixy i-D magazine after he left Vogue, with later help from Tony Elliott to turn it into a  mainstream title.

Jones has identified his favourite Vogue covers in interviews with Ludovic Hunter-Tilney (FT, ‘Happy birthday i-D magazine’, 19 November 2010) and for i-D/Vice. Among his three favourites is the green jelly cover from February 1977 shot by Willie Christie:

The image was originally for an inside editorial that Grace [Coddington, fashion editor, who was previously a model] and I convinced Beatrix [Miller, then editor] to run with. We got approval from Bernie Lazer, the managing director at British Vogue, who had to defend the decision when Daniel Salem, the European company director, demanded to have it stopped on press.

Vogue itself described the issue so:

The cover is entitled ‘first taste of spring’ and features ‘Rowntree’s jelly… full of gelatine, a valuable source of protein and good for strengthening nails.’ Green is the colour of the fashion moment inside, modelled by Jerry Hall, while Maria Schiaparelli Berenson’s wedding to James H Randal is featured, wth Anjelica Huston, Jack Nicholson, Liza Minelli, Halston and Andy Warhol all there to see it. ‘If there was ever such a thing as a groovy wedding, that was it,’ said Nicholson.

So un-Vogue: the full-length January 1974 cover shot by David Bailey for Terry Jones

So un-Vogue: January 1974 cover shot by David Bailey for Terry Jones

Jones was given space to experiment on covers, but he was also aware that ‘there were rules you were meant to abide by’.

Another cover he’s amazed that he and Coddington managed to ‘smuggle’ through was a full-length portrait by David Bailey of Anjelica Huston and Manolo Blahnik drinking champagne on a beach at sunset (Jan 1974).

As he says, ‘It was so un-Vogue. I don’t think Vogue have done a full-length since.’ Sometimes, it’s by breaking the rules that you set them.

 

So grainy: Vogue 1974 cover of Bianca Jagger blown up from a 35mm transparency

So grainy: Vogue 1974 cover of Bianca Jagger blown up from 35mm

The third cover he rejoices in is ‘the accidental cover’ of Bianca Jagger photographed by Eric Boman (March 1974). Boman took a 35mm shot of Jagger at the Paris Opera that Jones liked, but the model was very small in the photo.

So Jones had a 10×8 transparency made up that was cropped to the head and then blown up to the cover area. This blow-up made the image very grainy, a feature that Jones wanted but that would have been regarded as unusable by the normal production standards at Condé Nast.

‘The print production manager still complained,’ said Jones, ‘but it remains one of my favourite covers alongside the the green jelly cover from February 1977.’

 


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

 

 

 


Shulman steps down at Vogue

January 25, 2017
Alexendra Shulman in front of a wall of Vogue magazine front covers going back to the 1910s

Alexendra Shulman in front of a wall of historical Vogue magazine front covers

After 25 years as editor, Alexandra Shulman is leaving Vogue magazine. A successor has not yet been announced and her future is not known. She said: ‘It was difficult to decide to leave but 25 years is a very long time and I am tremendously excited that I will now look forward into a different future.’

Nicholas Coleridge, managing director of Condé Nast Britain, said: ‘Alex has been the longest serving and most successful editor of Vogue in its 100-year history.’

Shulman took over at Vogue from Liz Tilberis, who left to edit Harper’s Bazaar in New York – joining two other British women at the top of the biggest American glossies (Anna Wintour was editing US Vogue and Tina Brown was running Vanity Fair).You would have thought Shulman was primed to take over from Wintour.

Shulman began at Vogue as features editor in 1988, before joining GQ as editor in February 1990. She took the helm at Vogue in 1992 (with Michael VerMeulen stepping into her GQ post). Shulman started out in journalism at Over-21, before joining Tatler in 1982, where she became features editor. In 1987, she joined the Sunday Telegraph as editor of the women’s pages before working on one of the paper’s tabloid sections.

McCullin, Wintour and Brookes given honours

December 31, 2016
Don McCullin photographer Anna Wintour, Vogue editor Times cartoonist Peter Brookes. Pic: Richard Pohle
Don McCullin, former war photographer Anna Wintour, chief of the US edition of Vogue Times cartoonist Peter Brookes – did Oz covers

Photojournalist Don McCullin, Anna Wintour, chief of the US edition of Vogue, and Times cartoonist Peter Brookes are the prominent names in this new year’s honours list.

The 81-year-old McCullin, who made his name on Town and The Sunday Times  Magazine among others, has been knighted.

Peter 'Hack' Brookes cover for Oz magazine from 1971

Peter ‘Hack’ Brookes cover from 1971

Peter Brookes, who in the past drew for underground magazine Oz, has been made a CBE. In a news item in The Times today headlined ‘I won’t start pulling my punches’, the 73-year-old cartoonist defends accepting the award:

I am glad to live in a country that recognises cartoonists in this particular way. There will be those who wonder whether Theresa  May and others can justifiably say ‘we have got him now’. My feeling is very much that they haven’t. I am not going to stop hitting hard.

He points to the contrast between his honour and the treatment of Atena Farghadani, who was jailed in Iran for 12 years after posting a cartoon in protest at laws restricting birth control and divorce. ‘She has been jailed for doing the sort of drawing I do three or four times a week,’ Brookes said.

Anna Wintour, who was appointed editor of ­American Vogue in 1987 after two years at the helm of the British edition, has been made a dame, while veteran Liverpudlian comic Ken Dodd is knighted at the age of 89. His world of Diddymen and the Jam Butty Mines in Knotty Ash has been a legend in my lifetime. Difficult to imagine ‘Nuclear Wintour’ repeating the sentiments of Daddy on hearing his news: ‘full of plumptiousness’ and ‘highly tickled’.

Vogue – vague about photography

October 28, 2016
Inside Vogue book by Alexandra Shulman marks the magazine's centenary year

Inside Vogue by Alexandra Shulman marks the magazine’s centenary year

Inside Vogue: A Diary of My 100th Year came out this week with editor Alexandra Shulman writing about the magazine’s celebration of 100 years since the first issue of British Vogue – known in the trade as ‘Brogue’. Incredibly, she’s been at the helm for 24 of those years.

She was asked on Radio 4’s Woman’s Hour about that first issue and came across as a tad vague. She remarked that it was then a society magazine rather than a fashion magazine and that ‘there were no photographs, of course’. Why ‘of course’?

Photography was well established and the Graphic had been reproducing half-tones for 30 years. Its four-page supplement in 1884, ‘An amateur photographer at the zoo’ is one of the first examples of photographic reportage.

Could it be that ‘of course, Vogue is always slow to follow the trends’? Or perhaps ‘of course, Vogue simply didn’t like photographs’. It did not run its first photographic cover until 1932.


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

 


 

Blow by Blow in Vogue

November 20, 2015
Why the hats? ‘To keep everyone away from me, said Isabella Blow

Why the hats? ‘To keep everyone away from me, said Isabella Blow

The A.G. Nauta fashion blog has put together a nice sequence of Isabella Blow photos from magazines, including pages from the 1993 London Babes feature shot by Steven Meisel and conceived by Blow – the fashion muse’s brother has described it as the most expensive Vogue shoot of the era.

The blog quotes Blow, who wore some astounding creations from the likes of Philip Treacy – you have to see them live to really appreciate them:

Why the hats? To keep everyone away from me. They say, Oh, can I kiss you? I say, No, thank you very much. That’s why I’ve worn the hat. Goodbye. I don’t want to be kissed by all and sundry. I want to be kissed by the people I love.

>>>Women’s glossy magazines

 

One for the magazine collector

August 15, 2015

I spoke to James Hyman last year who runs the Hyman Archive and I send people there when they start thinking they have a problem storing their magazine collection. This is just a great picture (and links to a video from his website):

James Hyman in his archive - happy as a...?

James Hyman in his archive – happy as a…?

The James Hyman magazine archive holds 50,000 issues. My collection is trivial compared with this, but then I do say I spend my time trying not to collect magazines. I look for evidence of change and watersheds in the industry. However, even if I were to have just the first, last and one other copy of every one of the 7,000 titles published in Britain today, that would be 21,000 magazines!  And in that context, even Hyman’s archive is just a toe in the water.

Take the monthly fashion glossy Vogue, just the British edition, first published in 1916.

Vogue from 1918 - beware, it's bigger than it looks

Vogue from 1918 – beware, it’s bigger than it looks

That’s 100 years of a monthly. So, you think, 100 x 12 magazines = 1200. At 25 in a box, that’s 48 boxes. Manageable. But then you discover that Vogue came out pretty much twice a month into the 1970s (notice the dateline on the one above – late May 1918). So it turns out you need 80 boxes, each with a footprint larger than A4. Have you ever tried moving a box of 25 Vogues? Believe me, you won’t want to do it very often.

And that’s before you discover the spin-offs, such as Vogue Knitting and Vogue Beauty (which were merged into the main magazine because of paper rationing during the wars). Surely you will be tempted by a few French, Italian, US and Japanese issues? (Don’t be – there are 125 different editions; I think one of the Indian issues was the biggest, the thickness of a telephone directory.) But you’d also have to let in the classy 1960s Men in Vogue (luckily it was only two or four times a year for five years). Then what about Men’s Vogue (again, didn’t last long)? The dress patterns? Media packs? Band-on supplements? Cover gifts? – the tacky flip-flops, beach bags and paperbacks really mess up the 25 in a box plan.

Before you know it, the collector in you has amassed 5,000 magazines, and is still only halfway to satisfying that acquisitive urge – and that is just one title.

So, before you get into too much deep paper, do a bit of planning. Limit your storage space, and, once it’s near full, adopt a one-in, one-out strategy. Don’t use wine boxes because a full wine box will be too heavy to lift 10 years from now; also, the weight will flatten the spines of perfect-bound magazines such as Vogue. Keep them downstairs. But do use sturdy boxes so they don’t fall apart, offer some protection when dropped (I once had a wall of shelves full of magazines collapse on me at college) and can be sealed to keep out spiders, insects and mice.

If you collect more than one magazine, how are you going to arrange them? By date? By title? By sector? Depends on why you want them and plan to use them. Be careful to buy the correct storage bag sizes if you plan to store them that way – but watch the pages don’t catch on a bag’s sticky sealing strips as they come in and out. Also, the bags slide off each other very easily, so the magazines can’t be just piled up. Do store them well though, because the condition is so important when you come to sell them.

Finally, you’ll want to catalogue them. I have 3 essential lists, all 2.5Mb-2.9Mb wordprocessor files with basic facts such as title, date, price, publisher and editor, along with notes about writers, designers, illustrators, unusual features, etc. And if you want to trade, don’t forget sources and prices. My files aren’t online (total lack of planning), but the saintly Phil Stephensen-Payne and his Philsp website are an absolute boon for research into the contents of so many magazines.

You’ll find some more (hopefully useful) comments on my Magazine Collecting page.

In the meantime, I find myself asking myself: why haven’t I taken my own advice? Happy collecting.

More genius of colour printing – Vogue cover

June 20, 2015

 

The 'London Babes' cover from Vogue in December 1993

The ‘London Babes’ cover from Vogue in December 1993

This is a great issue of Vogue, with Danish fashion model Helena Christensen on the cover photographed by Nick Knight (his second Vogue cover, the first being the month before). Inside, is Steven Meisel’s ‘London Babes’ photoshoot styled by Isabella Blow. From a printing point of view, the cover is interesting for several reasons. The Blighty colour cover I discussed last week was printed colour letterpress. That technique produces quite a crude result compared with modern-day offset lithograph printing, which is used for most magazines today, including this 1993 Vogue. Nick Knight is renowned for his digital manipulation of photographs and as a proponent of its ‘extremely exciting’ possibilities.

Detail of Helena Christensen's eye from the cover of Vogue in December 1993

Detail of Helena Christensen’s eye from the cover of Vogue in December 1993

The detail of Helena Christensen’s eye from the Vogue cover demonstrates several things. First, the skin tones are purely made up of magenta dots. Compared with the Blighty cover, the dots are finer – more like 300 lines per inch than the 150 of the 1950s. Click on the images here to see them at a larger size. Notice how much blue there is in and around the eye – this looks to me as if a blue shadow has been added in Photoshop. Similarly with the blue highlights in the eyebrows and hair.

Detail of Helena Christiansen's lips from the Vogue cover

Detail of Helena Christensen’s lips from the Vogue cover

This close focus on Christensen’s lips shows a much higher density of the magenta, a tinge of yellow at the centre of the mouth and then a shadow of cyan, which becomes heavier moving to the right. Below is a a magnified image of the whole face, with the bottom of the G from the title across the forehead. This is printed in solid magenta.

Detail of Helena Christiansen's face from the Vogue cover

Detail of Helena Christiansen’s face from the Vogue cover

JUST OUT – British Magazine Design, a highly illustrated hardback history from the Victoria & Albert Museum

Shulman steel beneath Vogue’s nice girl veneer

April 14, 2012
Ferguson portrait of Alexandra Shulman in the FT

Ferguson portrait of Alexandra Shulman in the FT

Next weekend marks the first Vogue festival at the Royal Geographical Society in Kensington with the likes of Stella McCartney, Diane Von Furstenberg, Tom Ford, Nigella Lawson and Kirsty Young chatting before the magazine masses.

It’s an idea led by the fashion magazine’s editor Alexander Shulman, who also has a book coming out.

That’s why there have been profiles of Shulman in the Observer Magazine last Sunday and today’s FT, where Carola Long, the FT’s deputy fashion editor, has lunch with the Vogue editor.

Shulman is portrayed as down to earth, almost girl next door, with both profiles putting across the image of a woman ‘happy in Vogue’.

‘…her hair is an untamed mishmash of outgrown highlights. Her clothes are discreetly fashionable but unintimidating: a navy-blue cardigan, a knee-length patterned skirt and comfortable-looking Anya Hindmarch heels. And – shock, horror! – she eats’ gushes Elizabeth Day in the Observer mag

But the articles are so similar that you wonder whether the interviewers have just swallowed the PR line.

There are hints, though, that more is afoot. The FT piece starts talking about the choice of restaurant:

Alexandra Shulman was also expecting a little privacy but the editor of British Vogue is scarcely going undercover by nipping round the corner from her Hanover Square office to this smart new steakhouse. In bounces well-connected foodie Tom Parker Bowles (‘Is this your new haunt?’ he asks), followed by restaurant critic AA Gill (‘Hi Adrian’, ‘Hi darling’). ‘Rather more people here than I expected,’ Shulman says, jaw tense, voice dropping to a near-whisper

But does it look like a navy-blue cardigan below? She leaves the Observer interviewer and seems to change into a grey cardigan that looks, to my non-fashionista eye, like a designer job.

Alexandra Shulman. Photograph: Julian Broad for the Observer

Alexandra Shulman. Photograph: Julian Broad for the Observer

She tells the FT:

‘I’ve got to the point where I don’t judge myself [on my appearance] because that way madness lies,’ she says, convincingly. ‘I know so many people who are upset about not looking as good as they used to but you’ve got to realise that’s what happens and find something else to be interested in.’

All very nice and reasonable. She does have a go at someone, however. In the Observer:

In fact, the most pronounced change she has noticed during her time at Vogue is … the increased control exerted by PRs and celebrities. ‘Somebody like Jennifer Aniston will only do an interview with copy approval and picture approval,’ she says. ‘I’ve never had anybody on the cover, ever, who’s had copy approval and picture approval. I just don’t think it’s a proper thing if you do.

‘It’s this thing of people just basically treating you as if you’re bound to be doing something that is in some way going to be insulting to their client. I just find that so offensive.’

Who could disagree with that. But then why pick on Aniston? Could it be that the Friends actor was the preview launch cover choice of weekly fashion rival Grazia?

After reading these two pieces, I’d be wary of the PR gloss and cut to the FT quote:

If she could have her time again, she says, ‘I would have got rid of the people who didn’t want to work with me, sooner.’ It’s a hint of the steeliness that must have helped keep her at the top in a fickle industry.

What I do like, though, is the FT  portrait by James Ferguson. His cartoons always have an edge to them. In this one, she’s got her heart not just on her sleeve but all over her top. The drink is the £5.50 Virgin Mary she has at 34 Restaurant. And there’s no attempt to flatter. It’s as if he’s taken her words to heart: ‘I’ve got to the point where I don’t judge myself [on my appearance].’

Vogue profile