Inconography The Magazine

Romantic, traditional, unusual, classic, trendy, for the best interpretation of the ceremony, but also to organize every detail, a guide full of ideas. The fashion is just one of the topics of the magazine, because a marriage is recognized by all: the atmosphere of the ceremony, the style of drink, the choice of a box or a floral decoration, the exclusivity of the honeymoon. Vogue Bride offers its advice to the sophisticated woman who wants to make the most beautiful day of her life. Vogue Sposa, a unique and irreplaceable magazine.

Vanity Fair is a magazine of pop culture, fashion, and politics published by Condé Nast Publications. The present Vanity Fair has been published since 1983 and there have been editions for four European countries as well as the U.S. edition.

Sunday Magazine is the must-read, weekly entertainment magazine. It includes all the information readers need to stay in the know. The core pillars of the title include celebrity, topical features, food, fashion and beauty, plus it features approximately 12 special themed issues per year. Stories are always accompanied by stunning photography, while witty writers and columnists ensure readers start their Sunday mornings with a smile.

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.

vogue.com.au, Australia's definitive online fashion destination, continues to set the benchmark for fashion websites in Australia with the launch of dynamic new features reflecting developments in the magazine, technology and the needs of vogue.com.au visitors.

Since launching in October 2000, vogue.com.au has produced an engaging online experience for its now more than 1 million unique visitors each month by continuing to combine current web technology with Vogue Australia's renowned editorial authority.

"vogue.com.au is on an astonishing trajectory - it's power and reach is unparalleled," says Kirstie Clements, Editor-in-Chief of Vogue Australia. "Together, Vogue Australia and vogue.com.au deliver the ultimate fashion environment with authority, integrity and style."

vogue.com.au in partnership with Vogue Australia magazine is able to provide users with a total fashion experience offering comprehensive runway coverage of all the major fashion shows, authoritative reports on seasonal trends, the latest social, celebrity, and fashion news, lively informed takes on fashion and pop culture, behind the scenes videos and the Vogue Forums which provide insight into the fashion industry.

From July 1, vogue.com.au's new features include interactive Lookbooks, a Fashion Calendar, gallery Zoom Tool and a new video system that will allow for more and higher quality full screen video content on VOGUETV.

"vogue.com.au is growing with the demands of our increasing visitor numbers," says Damien Woolnough, vogue.com.au editor. "The new vogue.com.au showcases the depth of original fashion and beauty content, which is updated daily."

A new innovative Lookbook feature will allow Club Vogue members to find fantastic images from all over the site and put them together in new, inspiring ways, whether they're paying homage to their favourite icons or spotting the latest trends.

This feature will create a real community of fashion fans allowing visitors to save, organize, and make notes on their favourite looks, just like a front row editor - and, best of all, they will be able to share them with the rest of the Club Vogue community.

The addition of the Zoom Tool in Galleries will enable fashion fans to focus on the intricate details in photographs from all of the international and Australian fashion shows.

The Fashion Calendar will highlight all of the events and launches dedicated fashion followers need to know.

A new video system for the highly successful VOGUETV, will allow for more video content covering the latest in fashion and beauty with full screen viewing.

With more than 1.1 million unique browsers and 9.1 million page impressions per month, vogue.com.au is the online authority for the vogue view on fashion in Australia.