InRed

The Room is a Budapest based, bi-annual and bilingual (English and Hungarian) fashion&art magazine, distributed across Europe. Originally its aim of foundation was to relaunch high quality fashion in Hungary, and to create a „room”, an artistic space of free spirit, where creation has no limits or restrictions.

The result is a cutting-edge bookzine, appearing every year in April and in October with a unique and surprising visuality. Among our contributors one can find Hungarian and foreign artists whose common language is free and forward creativity. Inhabitants of the Room believe in the unlimited circulation of values and the boundless nature of creation.

The French edition of Vogue magazine, Vogue Paris, is a fashion magazine that has been published since 1920.

1920–1950

The French edition of Vogue was first issued on June 15, 1920. Michel de Brunhoff was the magazine's editor-in-chief from 1929 into the 1940s.

Under Edmonde Charles-Roux (1950-1966)

Edmonde Charles-Roux, who had previously worked at Elle and France-Soir, became the magazine’s editor-in-chief in 1950. Charles-Roux was a great supporter of Christian Dior’s New Look, of which she later said, "It signalled that we could laugh again - that we could be provocative again, and wear things that would grab people's attention in the street." In August 1956, the magazine issued a special ready-to-wear (prêt-à-porter) issue, signaling a shift in fashion's focus from couture production. When later asked about her departure, Charles-Roux refused to confirm or deny this account.

1968-2000: Crescent, Pringle, and Buck

Francine Crescent, whose editorship would later be described as prescient, daring, and courageous, took the helm of French Vogue in 1968. Under her leadership, the magazine became the global leader in fashion photography. Crescent gave Helmut Newton and Guy Bourdin, the magazine's two most influential photographers, complete creative control over their work. During the 1970s, Bourdin and Newton competed to push the envelope of erotic and decadent photography; the "prone and open-mouthed girls of Bourdin" were pitted against the "dark, stiletto-heeled, S&M sirens of Newton". At times, Bourdin's work was so scandalous that Crescent "laid her job on the line" to preserve his artistic independence. The two photographers greatly influenced the late-20th-century image of womanhood and were among the first to realize the importance of image, as opposed to product, in stimulating consumption.

By the late 1980s, however, Newton and Bourdin's star power had faded, and the magazine was "stuck in a rut". Colombe Pringle replaced Crescent as the magazine's editor-in-chief in 1987. Under Pringle’s watch, the magazine recruited new photographers such as Peter Lindbergh and Steven Meisel, who developed their signature styles in the magazine’s pages. Even still, the magazine struggled, remaining dull and heavily reliant on foreign stories. When Pringle left the magazine in 1994, word spread that her resignation had been forced.

Joan Juliet Buck, an American, was named Pringle's successor effective June 1, 1994. Her selection was described by The New York Times as an indication that Conde Nast intended to "modernize the magazine and expand its scope" from its circulation of 80,000. Buck's first two years as editor-in-chief were extremely controversial; many employees resigned or were fired, including the magazine's publishing director and most of its top editors. Though rumors circulated in 1996 that the magazine was on the verge of a shutdown, Buck persevered; during her editorship, the magazine’s circulation ultimately increased 40 percent. Buck remade the magazine in her own cerebral image, tripling the amount of text in the magazine and devoting special issues to art, music, literature, and science. Juliet Buck announced her decision to leave the magazine in December 2000, after her return from a two-month leave of absence. The Sydney Morning Herald later compared her departure, which took place during Milan's fashion week, to the firing of a football coach during a championship game.Carine Roitfeld, who had been the magazine's creative director,was named as Buck's successor the next April.

Under Carine Roitfeld (2001-present)

Roitfeld aimed to restore the magazine's place as a leader in fashion journalism (the magazine "hadn't been so good" since the 1980s, she said) and to [restore] its French identity. Her appointment, which coincided with the ascendance of young designers at several of the most important Paris fashion houses, "brought a youthful energy" to the magazine.

The magazine’s aesthetic evolved to resemble Roitfeld's (that is, "svelte, tough, luxurious, and wholeheartedly in love with dangling-cigarette, bare-chested fashion"). Roitfeld has periodically drawn criticism for the magazine's use of sexuality and humor, which she employs to disrupt fashion's conservatism and pretension. Roitfeld's Vogue is unabashedly elitist, "unconcerned with making fashion wearable or accessible to its readers". Models, not actresses promoting movies, appear on its cover. Its party pages focus on the magazine's own staff, particularly Roitfeld and her daughter Julia. Its regular guest-editorships are given to it-girls like Kate Moss, Sofia Coppola, and Charlotte Gainsbourg. According to The Guardian, "what distinguishes French Vogue is its natural assumption that the reader must have heard of these beautiful people already. And if we haven't? The implication is that that's our misfortune, and the editors aren't about to busy themselves helping us out."Advertising revenue rose 60 percent in 2005, resulting in the best year for ad sales since the mid-1980s.

For 50 years, Pellicce Moda has been the leading authority on the national and international fur scene. Published in Italian and English, with a Chinese and Russian edition, it is circulated throughout the world to those active in the fur and fashion industry. It provides information regarding the main calendar events, offering a complete, detailed overview of trends. It provides insight into subjects related to consolidate and emerging markets. An indispensable tool that enables readers to be constantly updated about the world of fur and fashion.

NW gives its readers exactly what they want – the best picture exclusives and breaking news and gossip on all their favourite Hollywood stars. NW also provides a shopping guide for readers by featuring up-to-the-minute fashion and beauty trends as they hit. In addition to news, gossip and style, NW features all things hot in entertainment – from the latest movie reviews to the coolest new music and TV shows. NW – glamour, gossip and more.

Women's Health reaches a new generation of women who don't like the way most women's magazines make them feel.

Women's Health is for the woman who wants to reach a healthy, attractive weight but doesn't equate that with having thighs the size of toothpicks. They know that exercising and eating well will make you happier and stronger (even if after-work runs can really suck). That looking and feeling good have very little to do with cosmetics and high heels (though they can help you feel glamorous on a Saturday night). And that life can be stressful since there's never enough time, but balance is achievable (with a little help).

Most of all, WH focuses on what you can do, right now, to improve your life.