The Sunday Telegraph Magazine

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.

Alan Maleh, Man of the World’s Publisher and Editor in Chief, talks about creating a new magazine for a niche audience:

In today’s marketplace, you rarely find content that caters specifically to men who value style, travel, food, art, and culture. Man of the World is tightly focused on that group; it doesn’t try to be all things to all people. It’s for a ruggedly sophisticated male niche audience, and it’s somewhere they can go for consistent, compelling, informative content.

MAN OF THE WORLD is a handbook for the modern man, with its DNA inspired by American Heritage. Like most of us growing up, I really appreciated the appeal of the Hollywood icons of the 1960s and ’70s, guys like Steve McQueen, Paul Newman, Robert Redford, and Al Pacino. I wanted to emulate their effortless style and admired their sense of confidence. I think their style is just as relevant today, if not more so.

A conversation with my eldest son sparked an idea. I was telling him: “Do what you’re passionate about and success will follow.” It is then that I decided to create a carefully curated archive where I could showcase and share some of the vintage collectibles that I’m obsessed with, including vintage watches, mid-century furniture and cars.

As my team and I worked on a website, a way of showing the collection, it became obvious that we could not ignore heritage and craft, which was what drew me to collecting in the first place. I realized that Man of the World needed to be as compelling, as it was informational.

The result is this visually driven quarterly magazine, which is an authentic reflection of my taste and experiences, and presents them in a beautifully designed and useful form, laced with just the right amount of eccentricity and whimsy. I hope that our passion shows on every page.

MANHATTAN is the luxury lifestyle magazine for New York’s elite. Catering to the interests, sensibilities and 24/7 lifestyle of the city’s most affluent and influential readers, MANHATTAN delivers the absolute best the city has to offer. Going behind the velvet rope and giving readers exclusive access to the people, products, services and destinations that are defining the city’s luxury lifestyle right now. From fashion, watches and jewelry, to shopping, art, fine dining, real estate and the social scene, MANHATTAN covers it all.

REVS is a fashion/art magazine directed and published by SECT ET SEPT, its availability to bring together talented professionals of fashion comes from the co-operation of the following studios.