PULP

Vogue Novias has been the leading bridal title in Spain since its launch in 1993. Published twice a year, the magazine is the most inspiring and influential guide to getting married.

Though he is known for being one of the world’s top male models, Sasha Knezevic is a true Renaissance man. From his days as a professional basketball player to his high-profile career as a model, Sasha has never shied away from new challenges. With his latest venture, the relaunch of 25 Magazine, Sasha enters the intrepid world of fashion publishing and as with everything else, he brings his determination, fearlessness and unique perspective to the table.

Described as “an international magazine with an Austrian soul”, 25 features some of the industry’s premier young talents; the upcoming Spring issue will feature heavy hitters like Juergen Teller, Lachlan Bailey and Victor Demarchelier as well as superstar models, Eniko Mihalik, Sasha Pivovarova, Maryna Linchuk and Abbey Lee Kershaw, just to name a few. With Sasha as editor in chief and supermodel Anja Rubik as fashion director, 25 already boasts the kind of star power most publications dream of, but at its heart is a fresh and youthful point of view.

For some, photography is intuitive and meditative. Something that feeds a need to create, fills a nullity, breathes life into an idea – when catharsis meets creativity. For others, it’s just about capturing moments, telling stories, seizing beauty and contextualizing the opposite. Curated by Think CONTRA, photographerandmuse.com is a site dedicated to photo editorials. It’s a collaborative and creative platform for inspiration, and a network that connects like-minded artists, exploring various outlets of invention. The muse could be a model, a friend, a landscape, a product, the foam of a wave. The equipment could be the latest in technology, or a film camera as disposable as the memory itself. Of the many possible combination’s, it matters not about the image, or the tools that captured it, but rather the connection between photographer and muse.

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.

FHM, originally published as For Him Magazine, is an international monthly men's lifestyle magazine.

The magazine began publication in 1985 in the United Kingdom under the name For Him and changed its title to FHM in 1994 when Emap Consumer Media bought the magazine, although the full For Him Magazine continues to be printed on the spine of each issue. Founded by Chris Astridge, the magazine was a predominantly fashion-based publication distributed through high street men's fashion outlets.

Circulation expanded to newsagents as a quarterly by the spring of 1987. After the emergence of James Brown's Loaded magazine (regarded as the blueprint for the lad's mag genre), For Him Magazine firmed up its editorial approach to compete with the expanding market and introduced a sports supplement. It then went monthly and changed its name to FHM. It subsequently dominated the men's market and began to expand internationally.

The magazine is printed on high quality glossy paper and the photography is of high technical quality. FHM became one of the best-selling magazines in Britain during the mid to late 1990s, selling more than 700,000 copies per month by 1999.

FHM was sold as part of the publishing company sale, from EMAP to Bauer Publishing in February 2008.