“Vogue had a very good war,” Nicholas Coleridge CBE, president of Condé Nast International, says with a chuckle as he reflects on the fashion bible’s 100-year history.
The war arguably continues in the magazine world, as publications grapple with declining readerships and alternative revenue streams. Yet, despite competition and new contenders such as Porter, Vogue remains resilient. It has consistently outperformed the market and its circulation remains steady at 200,058, according to the latest ABC figures (ahead of rivals Elle and Harper’s Bazaar with 164,081 and 106,089 respectively).
To mark British Vogue’s centenary year, the National Portrait Gallery is launching a major exhibition this month of prints from publisher Condé Nast’s archive, featuring work from its illustrious photographers over the ages, including Cecil Beaton, Irving Penn, David Bailey, Herb Ritts, Mario Testino and Corinne Day.
The images range from 90s grunge era Kate Moss to Cecil Beaton’s 1941 photograph of a smartly dressed model standing amid the rubble in Blitz-torn London entitled Fashion is indestructible. Along with a litany of supermodels, Vogue’s portraits include movie legends Marlene Dietrich and Fred Astaire and literary icon and former Vogue contributor Aldous Huxley.
Vogue launched in Britain during the first world war when shipping restrictions prevented American Vogue, owned by Condé Montrose Nast, from being imported. The magazine started out as a repository for society news, but quickly turned its focus to fashion.
In sharp contrast to the fickleness of the title’s subject matter, the leadership at Vogue has remained unchanged for almost a quarter of a century. Editor Alexandra Shulman took the helm in 1992, alongside Stephen Quinn, Vogue’s publishing director since 1991 and its most militant and entertainingly strident defender. (Quinn was quoted as saying “fu*k the begrudgers” when Vogue’s September edition in 2014, fronted by Cara Delevingne, carried more ad pages than any September issue in the magazine’s history).
Shulman believes Vogue’s longevity has hinged on staying “very clear about the core values while being open to adaptation and innovation.” Emma Dibben, head of display at media agency MEC, credits Shulman’s famously down-to-earth approach with giving the title accessibility and “universal appeal”.
Over the years, the Vogue brand has extended beyond its glossy pages to Vogue.co.uk, which has 2.16m unique users according to the latest figures from Google Analytics. There is also the Vogue YouTube channel, 3.16m followers on Twitter, the annual Vogue Festival, the Miss Vogue supplement, and a Vogue fashion certificate course. Vogue, along with sister titles including Glamour and GQ, is set to have fashion from its pages sold on Style.com, Condé Nast’s venture into e-commerce. It’s a move in the right direction, in Dibben’s view. “Net-a-Porter offers a major challenge to Vogue,” she says. “Style.com is a massive opportunity and they’ll curate it very carefully because that’s how Condé Nast operates.”
Lucie Greene, worldwide director of JWT’s Innovation Group, who has worked with luxury brands including LVMH and Ralph Lauren, says the success of Vogue’s digital expansion is down to the brand always taking precedence over the medium. “There’s a whole ecosystem of touch points and Vogue has tailored its voice and style for each. Essentially, you now join the Vogue community,” she says.
Meanwhile, the mythology around the global Vogue brand has flourished, thanks in part to larger-than-life ambassadors such as US editor Anna Wintour and Grace Coddington, who stepped down as creative director of US Vogue last month. British Vogue, which Coleridge says has permission to be “slightly quirkier than US Vogue because of the British sensibility” will soon get its time in the spotlight as the subject of an upcoming BBC documentary.
Along with Vogue in China, British Vogue is the most commercially successful of the brand’s titles outside the US. The print edition alone is estimated to make about £25m a year in advertising revenues, and a double-page ad in the magazine’s top slot commands just over £70,000. Massimo Nicosia, the creative director of fashion house Pringle of Scotland, believes the brand association is worth it for advertisers. “Vogue provides real affirmation to a brand. While new publications come and go, Vogue has an authority that is undeniable,” Nicosia says.
Despite, or perhaps because of, its iconic status, Vogue has had its share of criticism over the years. The title has been called up over its lack of diversity, with Jourdan Dunn’s appearance on the cover in February 2015 marking the first time an individual black model appeared on the cover of the title in 12 years. This is an issue that needs to be addressed for the next generation, Greene warns. “British Vogue is still very high society and not that diverse. Generation Z, the 12- to 19-year-old group, and their future readers, is the most diverse to date,” she says.
For all of its prestige, Coleridge argues that Vogue is the most egalitarian in the luxury set. “The cleverness of British Vogue is that it has managed to be the first choice consumer mag but also at the same time the magazine of reference for the industry,” he says. “It’s aimed at all people who are interested in fashion. It’s quite democratic.”
As for the next hundred years, the magazine’s veteran publisher Stephen Quinn is characteristically confident. “The 20th century was good to Vogue; the 21st will be even better,” he says.
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As a seasoned expert in the field of media and fashion journalism, I bring a wealth of knowledge and experience to dissect the article on Vogue's centenary year and its enduring success. With a deep understanding of the fashion industry, media landscape, and the evolution of iconic publications, I can provide valuable insights into the concepts and dynamics at play.
Firstly, let's delve into the historical context. The article emphasizes Vogue's resilience over its 100-year history, surviving the challenges posed by war, competition, and shifting consumer trends. This aligns with the magazine's roots in wartime Britain, where it emerged as a response to shipping restrictions preventing the import of American Vogue. This historical perspective underscores Vogue's ability to adapt and evolve in the face of adversity, a crucial factor in its long-standing success.
The article highlights Vogue's consistent outperformance in the market, with a circulation of 200,058, surpassing rivals like Elle and Harper’s Bazaar. This is a testament to Vogue's enduring appeal and ability to maintain a steady readership despite the changing dynamics of the magazine industry. The inclusion of statistics, such as circulation figures, adds a quantitative dimension to Vogue's success, showcasing its continued popularity.
The leadership stability at Vogue is another noteworthy aspect. Editor Alexandra Shulman has been at the helm since 1992, emphasizing the magazine's commitment to its core values while remaining open to adaptation and innovation. This stability in leadership is a crucial factor in Vogue's ability to navigate industry challenges and maintain its distinctive voice over the years.
The article also explores Vogue's digital expansion, extending beyond glossy pages to platforms like Vogue.co.uk, YouTube, Twitter, and the Vogue Festival. This multifaceted approach to engaging with audiences reflects Vogue's understanding of the evolving media landscape and the importance of diversifying its presence across various channels. The move into e-commerce with Style.com is positioned as a strategic response to challenges posed by competitors like Net-a-Porter, showcasing Vogue's proactive stance in staying relevant.
The success of Vogue's digital expansion is attributed to its ability to prioritize the brand over the medium. Lucie Greene, worldwide director of JWT’s Innovation Group, highlights Vogue's tailored voice and style for each platform, creating a cohesive and engaging experience. This demonstrates a nuanced understanding of the digital ecosystem and the importance of maintaining a strong brand identity across diverse touchpoints.
The article touches on the global mythology surrounding the Vogue brand, fueled by larger-than-life ambassadors like Anna Wintour and Grace Coddington. This celebrity-driven approach contributes to Vogue's iconic status and its ability to captivate audiences beyond the pages of the magazine. The upcoming BBC documentary on British Vogue further adds to the brand's mystique and cultural relevance.
Despite its prestige, the article acknowledges criticism faced by Vogue, particularly regarding diversity. The mention of Jourdan Dunn's appearance in 2015 as the first time a black model appeared on the cover in 12 years highlights the ongoing challenges of inclusivity in the fashion industry. This critique emphasizes the need for Vogue to address diversity issues, especially considering the changing demographics of its readership.
In conclusion, Vogue's enduring success is a result of its historical resilience, consistent market performance, leadership stability, digital innovation, and strategic brand management. As the fashion bible navigates the challenges of the 21st century, its ability to adapt while maintaining its core values positions it for continued success in the ever-evolving media landscape.
