Conde Nast

Aktivs

Condé Nast owns the following magazines:

• Vogue,
• Condé Nast Traveler,
• Wired,
• Condé Nast Portfolio,
• The New Yorker,
• W,
• Glamour,
• Allure,
• Self,
• Teen Vogue,
• GQ,
• Details,
• Men's Vogue,
• Architectural Digest,
• Brides,
• Modern Bride,
• Elegant Bride,
• Lucky,
• Domino,
• Cookie,
• Golf Digest,
• Golf World,
• Vanity Fair,
• Gourmet,
• Bon Appetit.

Conde Nast magazines are published in, USA,, Great Britain,, France, Italy Germany Spain Portugal, Australia, Korea,,,, Japan REPUBLIC OF SOUTH AFRICA Greece, Russia, Mexico, Brazil Poland,,,,,,, and Hungary China Netherlands Sweden Taiwan. Romania India

Web

90 websites

Audience

2018: Top 20 internet giants by size of internet audience

Internet companies by audience size

2010: Over 142 million people

The audience of Conde Nast publications is more than 142 million people; total circulation - 41.5 million copies (September 2010).

Business in Russia

In Russia, Conde Nast began its work in 1998 and now successfully produces six glossy publications:

• Vogue,
• GQ,
• GQ Style,
• Tatler,
• Glamour,
• AD,
• Allure,
• Conde Nast Traveller.

The publishing house occupies a fifth of the advertising market among glossy magazines (2009 - 21%). The monthly total audience of Condé Nast magazines in Moscow (Vogue, GQ, AD, Glamour) is more than 600 thousand readers, in Russia (Vogue, GQ, Glamour) - almost 3 million people. The total circulation of all publications is 1,230,000 copies.

From an interview with Marker.ru^[1] by the president of the publishing house Karina Dobrotvorskaya (June 5, 2012)

• The main event is the launch in September 2012 of the beauty magazine Allure, which will be our ninth edition. This is a famous magazine that has existed in America since 1991, is published there in circulation under 2 million and enjoys great authority in the beauty industry. By the scope of the launch, by the forces and means invested, this project can be compared to Glamour magazine - our largest launch. After that, we will focus on digital projects - we will continue to engage in closer integration of print and Internet editions, look for a unique style for each site, improve our IPad versions, etc. We also have thoughts about the launch of Wired magazine in Russia, which in the West is the same bible in the world of new technologies and gadgets as Vogue in the world of fashion. But I am not completely sure that the audience for which Wired is designed will generally read the paper version, perhaps it is worth limiting itself to launching on the Web. At the same time, any network project is still much less profitable for publishing houses than paper.

- But in this case, the costs are less.
If you do something well, then the costs are still significant. I'd like to make Wired more ad-intensive. But here you need to be very careful, for many readers Wired is an icon, and they are sensitive to the purity of the formula. In a word, this project requires careful preparation and I do not want to rush. I do not think that we will be ready for it before the end of 2013 - beginning of 2014. Although we in the Russian Conde Nast love startups and launch new publications more often than competitors. In 2008, on the very eve of the crisis, we launched Tatler, in 2011 - Conde Nast Traveller, Allure is released in this. But such large-scale launches require huge energy costs and you need to let the company take a little breath.
- What is the amount of investment in Allure magazine?
This is a very large-scale project for us. We are preparing both outdoor advertising and television videos, because we are talking about the beauty industry - about a fairly massive segment. Information on costs is non-public, but the investment is comparable to the launch of Glamour magazine, the first issue of which was published in Russia seven years ago. This is the biggest launch since. We spent $5 million on the launch of Glamour.

• Will he have any Russian specificity?

It will be a Russian magazine, we never make tracing paper from Western magazines. Each formula requires adaptation to market conditions, to the psychology of the reader, to linguistic and stylistic traditions. Moreover, for Russian women, beauty is a cult, feat and passion. For its time, Allure was a revolutionary magazine, a breakthrough. He first began to apply the principles of independent investigative journalism to the beauty industry - it was no coincidence that editor-in-chief Linda Wells came from the New York Times. The great Alexander Lieberman (Russian and American artist) took part in creating the visual image of the magazine. - "Marker.ru"), he himself painted layouts, glued collages, made still lifes from lipsticks and shadows. Much of what Allure first came up with and did is now a common place in women's magazines. The magazine is famous for its independent assessments of cosmetic products and procedures. In Russia, this is very difficult to do, there is huge pressure from advertisers. But as a result of this pressure, the same advertisers lose because the reader has ceased to trust the information they receive from the magazine. He obviously believes that all this has been bought. We need to break this stereotype and prove that our magazine can be trusted. I think that ultimately both readers and advertisers will be interested in this.
- What do you plan to do in the electronic edition?
We have already done a lot, but there is still a lot to be done. In particular, we are now working a lot on the design of sites. I want you to immediately recognize Conde Nast's style by opening a website, as you recognize it by opening any of our magazines. But the most difficult thing is to involve editors, "paper soldiers," on the Internet. Technological revolutions do not immediately entail revolutions in their heads. And here a lot depends on the enthusiasm of specific editors. For example, after Mikhail Idov came to GQ, our traffic grew and blogs revived very much. By the way, we are the only publishing house, each of whose publications has its own website. Our last launch is the AD magazine website. And we also launch Allure simultaneously with the site and with the iPad version.

• The new chief editor of GQ Mikhail Idov has not been engaged in fashion before. Why did the choice fall on him?

When Nikolai Uskov (ex-editor-in-chief of GQ, now heads the Snob project, came to GQ. - "Marker.ru"), he was also not a person who had proven himself in fashion. He spent a year at Men's Health magazine, and even earlier he was a university professor. And before coming to gloss, I defended my dissertation on the history of the theater and taught this very history at the St. Petersburg Theater Academy. Our gloss is very young and our biographies are all unusual and intricate. I met Mikhail for the first time in 2010, when we presented the GQ Person of the Year award. He then won the Writer of the Year nomination for the novel Coffee Grinder. Misha seemed to me very nice and alive. When I went to New York six months later, we met there for lunch and I realized that he had a completely clear view of how to make a magazine, he had ambitions, he had his own understanding of fashion and style. In addition, he worked for the American GQ and for New York Magazine and has a good idea of ​ ​ how the glossy industry works. So when Kolya decided to leave the magazine, Idov's candidacy arose for me in a completely natural way.

• Together with Uskov, a large number of people left who determined the image of GQ. Like, for example, Ksenia Sobchak and Ksenia Sokolova. Was the situation critical?

It wasn't. Moreover, it seems to me that the magazine was ready for change. I am sure that Uskov himself felt it. He is a creative person and wanted something new. And Sobchak-Sokolova's interviews with her male victims were beautiful, they always started reading the magazine from them, but this format partly exhausted itself - it was not by chance that Uskov did not revive it in Snob. We will develop new formats, look for new forms, new authors, partly a new voice. With the arrival of a new editor-in-chief, the magazine inevitably changes - and rightly so.
That is, do you positively assess everything that is happening with the magazine now?
I'm interested in the new GQ vector. I think that it will be possible to fully judge the changes, starting with the September issue.

• How did the departure of Alena Doletskaya affect the popularity of Vogue?

Alena is a fantastic charismatic woman and a gifted editor, it was always important for her to integrate Russian Vogue into the global fashion process. And she succeeded - Russian Vogue has a brilliant reputation in the West. But at some point it became necessary to speak not only with the international fashion circle, but also with Russian readers. With the arrival of Victoria Davydova, Vogue definitely became more Russian, younger, more intelligible and more practical. At the same time, he did not lose anything that was conquered. For us now they shoot the best photographers in the world, on the covers - the best models, the best stylists cooperate with us. And the readers really appreciate that the magazine understands who they are and what they want. And speaks to them in their language. We have a very positive sales trend and we are very happy with the results.

• Alena left on her own initiative?

When it comes to such a huge Western company, such decisions, as a rule, are not impulsive or personal, this is always the result of mutual agreements. And in such decisions they rely not on emotions, but on objective figures and indicators.

• Does Vogue compete with Interview magazine, which is now headed by Doletskaya?

In my opinion, Interview is aimed at another audience - much more hipster. I don't know how many magazines this audience needs - the Afisha publishing house works for it, partly Esquire, now Interview is an interesting but niche project.

• "Snob" is your competitor?

This is again a very niche publication. They, of course, work with part of the audience with which we work, simply in terms of coverage are incomparable. And GQ is still a great international brand, a formula proven for decades. In this sense, it is difficult for any local brand to compete with it.
"Do you like this project?"
The idea itself was curious, but I have complaints about its implementation. Now there is no intelligible concept. There is a feeling that the magazine is either fighting a bloody regime, or flying on private planes, or dreaming of movie plays of the past. In that sense, we're more consistent, we honestly gloss, we don't pretend "I'm not like that, I'm waiting for a tram" and we're not afraid of sensual journalism.

• You are talking about the need to make Vogue more Russian. GQ is not covered by this practice? Idov himself worked for a long time in American journalism and, as he said in an interview with our publication, is going to invite more American authors.

When Idov talks about American authors, he means that he would like to instill here the traditions of large deep journalistic materials that require serious preparation and investigation. There, a journalist can study the subject he writes about for several months. Our journalism - particularly glossy - is often very superficial, it's the journalism of opinions, not facts. Here, of course, many problems arise - including journalistic fees, which are incomparable with American ones and make journalists cheat or make it almost impossible to exclusive. But I really like that Mikhail is working in this direction and is trying to turn the tide.

• There is an opinion that in connection with the lack of freedom of the press in our country the gloss takes on a function not peculiar to it and writes about politics. In GQ, for example, there are political topics.

Politics is among the interests of a modern man, so GQ analyzes all this. Everyone says that there is a politicization of glossy journalism, and I think that there is a glamorization of politics. But I would not exaggerate the significance of political processes in glossy journalism, even if glossy journalists go to the barricades. Gloss is glossy, and it has a different role and different tasks.

• How rich is the gloss market? Do I have to fight for the reader?

Now magazines are not fighting for the reader, but for the advertiser. And you really have to fight for him. But compared to Europe and America, the magazine market, of course, is not saturated. And above all because we don't have a middle class yet. So the prospects for gloss in Russia are huge.

Condé Nast Digital

Conde Nast Digital is the division of Conde Nast Publishing House responsible for new media. Thanks to work of Conde Nast Digital in Russia the websites vogue.ru, glamour.ru, gq.ru, admagazine.ru and tatler.ru attracting more than 1,300,000 unique users a month were successfully started.

History

2022

Queen Elizabeth II of Britain on the cover of Vogue magazine after her death, 2022

2016

Queen Elizabeth II of Britain on the cover of Vanity Fair magazine, 2016

1999: Moving to a skyscraper in New York

In 1999, Condé Nast moved to its own skyscraper in the heart of New York City - Times Square, finally affirming its status as the world's most powerful glossy publishing house. In 2006, Hollywood paid tribute to this status by filming The Devil Wears Prada: it's no secret that Anna Wintour, editor-in-chief of American Vogue, became the prototype of the main character. And in 2009, the full-length documentary "September Issue" was released, dedicated to the work of the American Vogue editorial office on the thickest number in its history. The film's motto reads, "If fashion is a religion, then Vogue is a bible." As of September 2010, CNP is run by his son Samuel Irwin Newhouse Jr., known by the name Si Newhouse. His cousin Jonathan Newhouse leads Condé Nast International.

1995: Launch of the first sites

Condé Nast was one of the first to respond to the beginning of the digital era in journalism and gloss, and already in 1995 launched its first sites - www.vogue.co.uk in the UK and www.epicurious.com in the USA.

1959: Newhouse becomes publishing house owner

Shortly after Nast's death in 1959, the publishing house, then producing nine magazines, came under the control of another magnate, Samuel Irwin Newhouse. Newhouse turned Condé Nast into one of the most influential and most successful media companies in the world. Thanks to his thoughtful and assertive business policy, Condé Nast's magazine portfolio has been replenished with such illustrious names as GQ, Condé Nast Traveller, Details, Allure, Architectural Digest, Wired. In 1983, after a 46-year hiatus, Vanity Fair was resumed, headed by 30-year-old Englishwoman Tina Brown. Newhouse's equally far-sighted decision was to appoint another Englishwoman, Anna Wintour, as editor-in-chief of American Vogue, as well as the acquisition of the influential weekly New York intellectuals, The New Yorker, in 1999.

A businessman from God, Newhouse has always listened to the advice of extraordinary people from the art world. His right hand for many years was a native of Russia, a man of European culture, the most influential in New York artistic circles Alex Lieberman. At Condé Nast, he was responsible for the selection of talented youth and ensured that editorial work met the highest standards. Lieberman owns the words: "A glossy magazine is not only a business, but also an education of public tastes." The story of how Newhouse and Lieberman made Condé Nast a cult publishing house became the plot of several fascinating books. The most famous of them is Carol Felsenthal's Citizen Newhouse, released in 1998.

1952

Photo models for Glamour magazine, 1952.

1916: Forced globalization in World War I

Vogue was followed by House & Garden and Vanity Fair magazines. In 1916, Conde Nast took the step unheard of at that time - he made the magazine international, starting to publish British Vogue in London. This was caused primarily by the fact that during the First World War the steamboat service across the Atlantic was disrupted, and therefore the delivery of Vogue magazine to Europe stopped. And Conde Nast decided to publish a magazine in the UK. From that point on, Vogue is gradually conquering more and more territory, referring to each country's cultural heritage while maintaining its unmistakably recognizable style. Even in the Depression era, Condé Nasta magazines continued to be published, delighting readers with advanced fonts and graphics for their time. Already in 1932, the cover of Vogue was decorated with color photography - for that time it was a revolutionary move. Since then, Conde Nast and fashionable, wider - glossy photography - synonymous words: according to Vogue issues, art students study its history.

1909: Conde Nast acquires Vogue magazine

The publishing house was founded by entrepreneur Conde Nast in 1909 in the United States. His first acquisition was Vogue magazine - then it was a publication about fashion news and the high world, elegantly interspersed with verses and pictures. Conde Nasta's secular luster, inherited from a French mother, allowed him to better recognize the target audience of his new magazine and its specific demands, which ensured Vogue's deafening success in America.

Notes