Issuu on Google+

ween metti

with ser

H

ow are you feeling about your new “baby”? The idea of the magazine actually coming out is very strange! For almost 15 years, I’ve been talking with Stephen Gan about doing a magazine together. When Stephen was at the printer seeing it actually happen two weeks ago, sending me pictures and everything, it was surreal. After 15 years of talking about this, it’s almost a joke! It’s happened very quickly. I’m excited, stressful, and very anxious. Do you think that’s a good mixture of feelings? And I’m already thinking about the next issue! You cannot stop. You were pegged for myriad gigs across the mag industry post-French Vogue… I was asked to do many projects, like to be a Barneys editor, special guest editor of V, special editor of Purple—working with all of my friends, basically. I don’t think that everyone who just leaves a magazine has so much support from all of those titles. Honestly, it’s quite rare, no? I wanted to keep it this way, so that when I see Stefano [Tonchi] or Olivier [Zahm] at the shows, I can have fun with them! I hope we can keep it this way; keep being friends. There is space for everyone. Besides CR Fashion Book, what other titles were you considering? It was very difficult to find a name that people could easily remember. I always sign everything with my initials, so it suddenly became evident. We added ‘Fashion Book’ so people would understand that the magazine is about fashion. That’s all. We had no other options. The same thing happened before with the title of my book, Irreverent. What was the most memorable moment of putting out the first issue? We were doing a shoot with a beautiful little girl, who was seven or eight-years-old, holding a baby. Suddenly the baby peed all over her. The little girl didn’t scream or drop the baby—she just had this expression of love on her face! What will CR offer the fashion industry? It’s about fashion beyond clothes; we’ve been saying that phrase a lot. It’s more of a dream magazine. I’m a dreamer! OK, yes, we work with the fashion industry, but it’s not really about, ‘I want to buy this, I want to buy that.’ CR is about being a collector: you don’t buy a new shirt each day or even month, so it’s the same for CR. There will be a lot of stories with no fashion credits: there’s nothing to buy, and those are my favorite stories! There are no credits on the cover, either. It’s very different from classic magazines. Does CR offer you the chance to do anything you never did at Vogue? What I didn’t do at French Vogue and always regretted was help young designers. Same for young makeup artists and hair stylists—I hope there’s more space for them in CR. How are you going to use that space? What’s the recipe for success? To make a magazine is to make the perfect dinner: you have amazing ‘guests,’ like Karl Lagerfeld, Bruce Weber, a dress by Mr. Armani, a Ralph Lauren bag. You want them all at your table, but you also want some trendy people, too, like Riccardo Tisci and Nicolas Ghesquière. All that talent needs to get mixed up for a beautiful dinner, and that’s the same approach we’re taking with CR Fashion Book. That would be a great dinner—and a very long evening! Since half of the 50,000 copies are going to be sold in Europe, and the other half will be sold in America and globally, do you value one audience

more than the other? I called Frida Giannini directly at No, no! The way we were working Gucci because one of my stories on the first issue was not felt like it was missing one of their especially American or European. dresses, and it was very important It’s open to everyone, and I don’t to me. I asked her, ‘Please, Frida, focus on one public. I’m not can you make this happen for choosing my audience or my me?’ And she answered me reader! I don’t know who’s finally directly! It’s a nicer, more personal going to buy and read it. conversation; you make a case for But your ideal audience? what you want. My English is not CR Fashion Book covers I don’t have one. You don’t choose your so good, as you can see. But I got public, and sometimes you’re very my Gucci dress! I got it! Thank surprised. When bloggers first saw you, Frida! images from the magazine, we didn’t What was it like pitching your know who would cover it—and we very own mag? were surprised! I’m sure when I meet It was exciting to talk about it; I my readers I’ll be happy because they like a challenge. must be nice people if they like fashion. How is CR a challenge? It will be people with a certain point It’s very me. I thought I was me of view and a sense of humor. I’m sure when I was in Paris at Vogue; it will be people that I’d like to have but I finally I realized I was in a dinner with; people I could have lots of golden cage. A beautiful golden conversations with. At least I cage with a beautiful crown. hope so! Ten years was a long time, so I What’s your ideal circulation? Do you decided I wanted to have more eventually want to have freedom. Now, in front of you mass appeal? with CR, is me. We’re always Carine, thinking about a uncensored! larger audience, but Yeah! In a good when it’s too big, and a bad way. it’s not good. I think With more you lose a bit of your freedom, you freedom. I would become who love to get bigger at you are. some point, though What happens I honestly don’t if CR Fashion Book fails? think it will become a mass magazine. Everyone works It’s too specific. so hard for it be It’s more like a successful, so coffee table book; if it’s not, that something you’ll will be a big want to collect. disappointment. What’s the learning But so many curve been like people say they with CR? want to do a When I became magazine and editor-in-chief of they never do it. French Vogue, I We’ve but we’ve only knew fashion. tried our best, I got to discover and now we’ll new things about see! jewelry, writing, Has your things like that. aesthetic And coming to CR, changed since Canoodling with I had never talked your days at Giovanna Battaglia to the advertisers; French Vogue? I’d never met them I didn’t change, before. but my tastes changed. At the same time that I was How is that possible, after a decade of editing leaving Vogue, I finished my book, Irreverent, about 30 French Vogue?! years of my work. When you go back 30 years, it’s a bit I don’t know! It’s very interesting for me. In France, like going to a shrink. It’s like, ‘What?! I did that...Oh, and everything is quite separate. Of course I knew some that? Why this? Why that?’ I don’t want to annoy myself of those people, but with CR I had to go and explain to or my readers, so it’s still me. But something is different them what this new project, my baby, was all about. in me. Maybe it’s because I’ve become a grandma, so What was that process like? things change a bit. I had to ask people directly for things. At Vogue, there What kind of grandma will you be to Romy? are many assistants and go-betweens. Here, with CR? I’ve only been a grandma for three months—I don’t No! It’s great, though, because it’s a very reactive and think she even recognizes me yet! I would love it if quick process. I went directly to people, and I’m sure my granddaughter loves me as much as my daughter they liked that too. loved my mom. The relationship my daughter had Who did you hit up for the first issue? with my mother was so specific. My mother passed

“I’m sure when I meet my readers I’ll be happy because they must be nice people if they like fashion.”

i n se t s : bfa n yc . c o m ( 4 ) ; pa t r i ckmcm u l l a n . c o m ( 2 )


The Daily Front Row