The Daily Front Row

February 11, 2019

maybelline new york’s

visionary

beauty media

BONANZA! Graydon’s

Year in Provence

Clinton’s

State of the Union The Report on Rapoport Condé’s Top Brass Speaks Out What’s Up With Cindi Leive?

plus! Longchamp, Jeremy Scott,Tomo Koizumi, and dish for all!

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As the world’s premiere fashion media company, Hearst leads the style conversation—with over 75% MORE fashion edit, 202 MILLION followers, and over 33 Million likes, comments & shares a month!

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Source: Media Radar, 2017-2018; HDM Research; December 2018 Sharablee

UNBOUND N O I H S FA

1/30/19 4:16 PM

CHICMoments

GAME ON! The Daily partnered with Just Drew and Rebag to celebrate the start of #NYFW with a party at Upper East Side boutique Le Board. Bartenders from Runway Waiters served beers from Kronenbourg 1664 and Ruffino prosecco in Baccarat crystal glasses.

Guests enjoyed hors d’oeuvres from KD Event Group and sampled caviar from Petrossian. A painting by Rudolf Stingel from Inigo Philbrick Gallery served as the chicest of step-andrepeats, and DJ Layla Benitez kept the music pumping all night long.

There was an in-store beauty station with Thorne by Bella cosmetics, and the brilliant stylists of Warren Tricomi were on hand, including the master himself, Edward Tricomi, to provide guests with mini makeovers. The everpopular Hypno cam made the rounds as guests took in Andrew Warren’s latest collection for Just Drew and the shoe designs of Lena Erziak. photography by andrew werner, hannah turner-harts, & Caroline fiss

Sophie Elgort

Timo Weiland DJ Layla Benitez, Andrew Warren, and Bella Thorne Bella Thorne

EJ Johnson

Ashley Haas enjoys a Kronenbourg 1664 beer

Delilah Belle Hamlin Brooke Korine and Jackson Krecioch

Gretchen Maull

Laura Arumugam

Ming Lee Simmons

Hypno cam operators at the ready!

Ivan Bart

Mr. Rutherford Bella Thorne

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Jermaine Pollard Paris and Parker Winston

JZL the Empress JZL the Empress

Bibi Abdulkadir, Janey Lv; and Trisha Akello

Corey Baumer

Reya Benitez and Andrew Warren

Elaine Hendrix Drake Bell

Simone Aptekman

Gizele Oliveira and Cindy Mello

Bella Harris, Edward Tricomi, and Karen Shiboleth

Elizabeth Stankus, Petra Halloran, and Julia Moshy

Gretchen Maull

SPECIAL THANKS TO… Just Drew, Rebag, Baccarat, Ruffino, Le Board, and Kronenbourg 1664

Kemio

Marcy Warren

Marc Bouwer

Sophie Bickley, John Mahdessian, and Charlotte Bickley

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2/9/19 6:48 PM

Brandusa Niro

TOMO KOIZUMI

Editor in Chief, CEO Chief Content Officer Executive Editor & Director, Strategic Partnerships Eddie Roche Ashley Baker Managing Editor Tangie Silva Creative Director Dean Quigley

With Katie Grand

How did you find this guy?

About three months ago, Giles Deacon sent me one of Tomo’s pictures on Instagram. We borrowed some stuff for LOVE and Tomo didn’t know what to do with the clothes, so he said to just keep them in our office. He started posting some more extravagant pieces, and I texted him and said, “Take that picture down! We’re going to do a show!”

Have you done something like this before?

Marc [Jacobs] and I helped Matty Bovan in his first season. It’s actually more exciting to do it in New York—it felt much more proper and grown-up. Marc Jacobs was so supportive of this!

The fash-noscenti hit Marc Jacobs’ Madison Avenue store for the #NYFW debut of Tokyo’s Tomo Koizumi. No seats, no prob—Grace Coddington, Jonathan Saunders, Tonne Goodman, and Jessica Diehl graced the spectacle, which was styled by Katie Grand, cast by Anita Bitton, and beautified by Pat McGrath and Guido. • Jeremy Scott’s newsworthy (ha!) show bowed at Spring Studios.

RUPAUL REFLECTIONS! With Zaldy

MAN DU MOMENT! With Tomo Koizumi You were discovered via Instagram!

It was unbelievable. I had never done a fashion show. I was nervous. Katie Grand is so nice. I was trying my best, and I think I did my best!

What have you learned from working with Katie?

Working with happy and nice people is the best way.

How will you celebrate?

I’m going to drink wine!

What brings you here?

I met Tomo by chance in Tokyo in December. We had a glass of sake, and we bonded.

How long have you been working with RuPaul?

Since Supermodel came out in 1992. Since then I’ve probably made about 95 percent of all the things that she’s worn.

She’s hotter than ever!

I’m so happy for everyone involved. Ru is doing five TV shows this year. It’s insane.

We’re working on a new Netflix series with [Sex and the City producer] Michael Patrick King that is out in August!

With Jeremy Scott

WIGGING OUT! With Aquaria What’s your look today?

Mariah Scary!

How many wigs do you own?

Too many! I am purging and trying to minimize.

What do you do with the wigs when you’re done with them?

They go to the needy!

HAPPINESS PURSUIT! With Dilone

What do you do to make yourself happy?

I meditate. I do yoga. I exercise. I read.

Remind us of your first name again?

Janiece. Dilone is my last name. I’m all about family, community, and lifting up the people you started with!

Fashion News Editor Aria Darcella Contributing Art Director Teresa Platt Contributing Photographer Giorgio Niro Contributing Photo Editor Hannah Turner-Harts Contributing Copy Editor Joseph Manghise Imaging Specialists George Maier, Rick Schwab

Mark Tevis

Senior Advisor Senior Director, Brand Partnerships Betsy Jones Executive Sales Director Carrie Brudner Fashion Publishing Director Monica Forman Publishing & Market Research Nandini Vaid Digital Operations Daniel Chivu Manufacturing Operations Michael Esposito Amy Taylor

To advertise, call (646) 768-8101 Or e-mail: advertising@dailyfrontrow.com

DEEP THOUGHTS!

jeremy scott

Digital Director Charles Manning

It’s all black and white!

Yes, except a few pieces. I collaborated with artist Aleksandra Mir, who did a huge exposition of newspaper covers. I took them, extracted them, glued them up, and played with them and did different printing techniques. Whether it’s in the news or on Instagram, people are so addicted to scandal. I wanted to put it all out there and make something beautiful.

Any favorite headlines?

Chaos! Panic! We’re driving people into hysteria. I basically stopped watching certain news [outlets] because of the anxiety it causes.

Your boyfriend, Denek K, is so cute.

Where did you meet?

At a casting in Milan. Later, he was in L.A. and he asked me out on a date. He was so good-looking that I thought it wasn’t going to work, but he’s so kind and thoughtful with such a big heart and such a kind caregiver. I’m very happy.

The Daily Front Row is a Daily Front Row Inc. publication. Copyright © 2019. All rights reserved.

Reproduction without permission is strictly prohibited.

Requests for reprints must be submitted in writing to: The Daily, Attn: Tangie Silva, 810 Seventh Avenue, Ste. 400A, New York, NY 10019.

On the cover: Daphne Groeneveld with (insets from top) Samantha Archibald, Sofia Resing, and Chuyan He at Cushnie’s Fall 2019 show, photographed by firstVIEW.

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G UTTER CREDITS t k

TALENT WATCH!

Contributing Editor Alexandra Ilyashov

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SCENE

S:10.25”

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OFFICIAL MAKEUP SPONSOR OF NEW YORK FASHION WEEK ©2019 Maybelline LLC.

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Happy Anniversary,

answer below !

Maybelline NewYork!

Celebrating 10 years @NYFW!

cushnie Brock

scene

Carly Cushnie showed her Fall ’19 collection at Spring Studios. So, what was the inspo? Paul Poiret’s draping, ikebana, and artist Nicola Kloosterman’s collages. • Laura Vassar Brock and Kristopher Brock went with a “purity and sex” message. It totally worked, because we’re legit lusting for the tweeds, the bustiers, and anything in gold. Swoon!

Which of the following was not on display during Rodarte’s Fall ’19 runway show?

A. Ruffles B. Rosettes C. Ruching D. Restraint PROMOTION

YOUR DIGITAL FIXATIONS, DISCUSSED!

How are you feeling, and when is the baby due?

I’m feeling good! She’s moving about a bit. I’m due in April.

Remember when you were single, and The Daily took you out on the town to help you find a man?

[Laughs] That’s no longer!

Maybelline New York is throwing you a baby shower on Monday. Any gifts you’re hoping to receive?

I want the baby to be really small and come out really quickly!

What about her clothes?

I like mommy-and-me outfits!

FLAs MOMENT! With stylist Kate Young

You won one of The Daily’s Fashion Los Angeles Awards last year. Where do you keep your statue?

It’s in my office. My desk is against the window, so the light shines through it. It’s on a stack of first-edition Colette novels.

Do you dust it?

The housekeeper does!

brock collection RED ALER'T!

With Candice Huffine You look fab in red! Is that your color?

I love red! Back in the day when I used to do pageants, I once wore only red for the swimsuit and gown competitions, because I wanted them to remember me.

Tell us more about pageant life!

I always wanted to be a fashion model on the runway, and I thought pageants were the way to get there. I was waiting for someone to come up and tell me they were going to make me a star, and then I realized it was two totally different worlds. I had a great time there.

I learned a lot of valuable things that I still use today.

Which pageants did you HEARD compete in?

I did a lot of regional ones. “ I used to get teased At one time I was Miss because I would always be Baltimore and then in happy if there were three types another breath I was Miss Virginia, because they of potatoes at a meal. Give me combined. some French fries, a mashed You’re very friendly! Are potato, and a baked potato!” you always this happy?

—Nicola GlaSS at Kate Sometimes the horns come Spade’s presentation out, but generally, yes!

sculpted brows For Kate Spade’s Fall ’19 collection, Romy Soleimani gave the beauty look a strikingly precise brow paired with wine-toned shadow. Re-create the look via Maybelline New York’s TattooStudio Brow Pomade.

This creamy, matte formula is smudge-proof, waterproof, and transfer-free…for up to 24 hours! Perfect for the unpredictable temps of February’s NYFW. BEAUTY MUST: MAYBELLINE NEW YORK TattooStudio Brow Pomade, $12.99, maybelline.com

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How much time do you spend on your smartphone?

Possibly too much! I have two phones—one is personal, and one is work. Also, one has a better camera, so that justifies it, right?

Do you read screen time reports?

I see them, but I try to blur my eyes.

Lately, it says “screen time down,” so I’m feeling good about that.

Do you believe in screen time detoxes?

I tried it during the holidays, and it was good! I was home with the family, so it was nice to just be in the moment.

Guiltiest Instagram pleasure?

I like browsing the #oddlysatisfying.

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With Carly Cushnie

Q&A WITH CASSANDRA GARCIA, Brand Ambassador for Bobbi Brown Cosmetics

CAN YOU GUESS ANSWER: D

BUMP WATCH!

2/10/19 12:53 PM

More than water.

A canvas for artists.

Art by Jamall Osterholm

©2018 LIFEWTR and THIRST INSPIRATION are trademarks.

Introducing Series 6: Diversity in Design. Discover more at LIFEWTR.com

RunwayReport

Sophie Delafontaine gave us an energetic, polished homage to the raucous style of serial globe-trotters.

Flirty silk dresses (of the Parisian variety) were well-styled with trim vests, over-the-knee boots, and contrasting jackets. The brand’s new LPG logo proclaimed itself on black-and-white separates—and it’s all over the new La Voyageuse handbag collection as well. Sophie, love, way to take flight!

g e t t y i m a g e s /a l b e r t u r s o ( 7 ) ; f i r s t v i e w ( 7 ) ; p a t r i c k m c m u l l a n . c o m ( 6 ) ; c o u r t e s y g e t t y i m a g e s ( 6 )

longchamp fashion hong kong

Heaven Please+ 112 mountainyam

Anveglosa

Exciting ideas from a trio of designers from Hong Kong. From left: Mountain Yam sent out a groovy mishmash of suiting, fringe, and utilitarian chic in his collection for 112 mountainyam. Annette Chan’s minimal-chic separates for her Anveglosa brand provided a fresh spin on tulle and leather.

For Heaven Please+, designers Yi Chan and Larry Cheung debuted totally fresh outerwear that was tricked out with rufffles and embellishments.

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Creative director Nicola Glass focused on the new house codes she introduced for Spring while ensuring that the brand’s storied DNA remained top-of-mind. “I was inspired by the idea of a woman’s closet and the thought of where clothes end up, rather than where they originated,” said Glass backstage. Things we loved: the animal prints, funky knits, and draped silk dresses. Brava!

BEAUTY trend alert

Rouged lips & EYES Romy Soleimani for MAYBELLINE NEW YORK

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kate spade nicole miller

A packed house at Spring Studios delighted in Nicole Miller’s take on feminine grunge. Beanies, slip dresses, and long jackets dominated, while statement pieces like an oversize, patchwork leather jacket are destined for “It” status. Zodiac symbols and faux zipper prints provided a fun and funky twist to Miller’s timeless silhouettes.

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BEAUTYBeat

s h u t t e r sto c k ; a l l ot h e r s co u rt e sy

Master class

As Maybelline New York’s global makeup artist, Grace Lee is a fixture at New York Fashion Week. She keys numerous shows, and also preps supermodel Adriana Lima for public appearances.

We tracked her down to get the latest scoop on the brand’s new products, her Fash Week survival tips, and more!

BY TANGIE SILVA

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Tell us about Maybelline New York’s new Made For All line.

Makeup artists hear a lot of women asking for the perfect shades of red and nude, so Maybelline came out with seven lipstick shades that look universally good on every skin tone. They tested the line on more than 50 different skin tones and over thousands of different women. In the red color, for example, the pigments are balanced, so it’s never too pink or orange.

You used it for the first time at Cushnie last season. Did it really work to use the same shade for every model?

It really did. As a key makeup artist, we’ll say, “Okay, this is the lipstick that I’m using, but on the dark skin tones maybe you’re going to need to darken it, or on Asian girls, you might need to put a tad more orange. [At Cushnie], I was very specific, and I told the team not to alter the color whatsoever. Carly Cushnie also casted so many different skin tones that it was almost a perfect way to display the lipstick. Look at the photos—it really does look good on every skin tone.

It’s really exciting to see so much diversity on the runways and in the beauty world.

Maybelline New York has 40 shades of foundation. Women no longer have to buy three different shades of foundation to mix to get the right color. It used to be a struggle.

In addition to Cushnie, you’re keying Jonathan Simkhai and Rebecca Minkoff this season. When do you do your makeup tests?

Our tests happen one or two days before.

You know, it’s fashion. Everything’s kind of put together in—I don’t want to say five minutes, but…

At Daily speed!

Yes! What’s the hardest part of NYFW for a makeup artist?

Luckily, because I’m branded with Maybelline, they provide all the makeup for us. That’s not usually the struggle. It’s more of a struggle to get makeup done on 50 models. Sometimes, 10 are still missing from a show—stuck in traffic, running from another show—about 30 minutes before it’s supposed to start, and so we have to transform them very quickly.

There’s a lot of stress when you’re dealing with factors you can’t control.

How do you get the models ready so quickly?

Makeup wipes are a godsend! We use makeup removers, too.

What are your thoughts on using wipes for everyday removal of makeup?

Save them for when you need to remove it quickly and effectively. I wouldn’t recommend them for your everyday evening regime.

What’s your opinion of the new micellar waters?

I feel like they work—they’re like makeup removers with added minerals or vitamins that I guess can help. I’m not 100 percent sure how effective they are, though.

What’s in your personal NYFW survival kit?

Coffee. I’m a Starbucks junkie. I have to have a certain amount of caffeine in the morning, and I try to stay hydrated with water. That’s important—and lots of vitamin C, because I don’t want to get sick.

Who are your beauty icons these days?

I’m not just saying this, but I think Adriana Lima is just one of those beautiful women, and she’s aged so well. People always ask me how old she is, and they don’t even believe me when I tell them. It’s not fair, but sometimes I’m just like, “I can’t even believe it!" when I’m doing her makeup. She’s just timeless. It’s pretty incredible.

Is there a certain look that you created for Adriana that you absolutely love?

Adriana went to a Harper’s Bazaar event in a gold Vivienne Westwood dress, and she looked like a bronze goddess. She always looks good in a red lip, but there was something about pairing that with a bronzy-gold eye and straight Cleopatra hair.… She looked really good. It’s a look she doesn’t normally do a lot, and so it really stood out for me.

You also host MasterClasses. Which beauty trends and techniques are your students really into?

I’ve been doing makeup for 20 years, and I would go to a MasterClass if I had the time. The smoky eye is one of those trends, and a cat eye is another. I feel like students are always asking me about looks that they normally wouldn’t do on a regular basis, but I always find practice makes perfect. The more you do it, the better you’re going to get.

Which trends are you completely over?

I’m not into overly contouring and highlighting the face so that you can see it from outer space. That kind of makeup

“

makeup artists hear a lot of women asking for the perfect shades of red and nude, so maybelline came out with seven lipstick shades that look good on every skin tone.”

that’s done for Instagram that makes you gasp when you see it in broad daylight… no one should look like that, I’m sorry.

That being said, have makeup artists had to adjust their techniques to keep pace with the advancements in digital photo technology?

Not necessarily, because I wouldn’t do that kind of makeup. If there’s more lighting, obviously yes, you do need to add more, but I’m still all pro. If it looks good in person, it’ll look good on camera.

Maybe it’s also because I do a lot of press junkets for celebrities. They have to look good in person, and when they look good in person, they will still look good on camera. About half of those Instagram makeup looks are blown up by a crazy amount of lighting as well. It’s just not realistic.

What are your thoughts on makeup apps?

They’re fun. It’s a cool way to see what a red lipstick would look like on you, but I still think testing out colors and playing with makeup firsthand is the best bet.

We heard that you’re going to appear on Project Runway.

We’ve finished taping, and it was amazing.

Maybelline New York is the title sponsor

NEW LAUNCH! MAYBELLINE NEW YORK Made For All Lipstick by Color Sensation in Fuchsia for Me, $7.49, maybelline.com

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BEAUTYBeat

for makeup, so I’m basically the person talking about makeup when the models are getting done up in their challenge. It’s such an iconic show. I grew up watching it, and I was obsessed with it. So the whole reboot and revamp is really exciting.

What are the go-to products in your kit these days?

I love Maybelline’s Lash Sensational mascara. It comes in a pink tube. I swear, all the editors love it, too. It’s a very good mascara. It doesn’t clump, it’s clean, and it has a curved brush. There’s another formulation called Snapscara that just came out. That one is also awesome. It comes off with warm water. The more I use it, I’m like, “Oh, my gosh!” It goes on

almost like an oil, but there’s no wax in it. I also love Maybelline Baby Lips—it’s a really versatile formulation for guys and girls. It’s a standard lip balm, and I also use it on my cuticles when I’m traveling. It also works as a highlighter on cheekbones if you want more of a dewy finish.

Inquiring minds want to know…how often should we be throwing out our makeup?

If a product is still sealed, and you haven’t opened it for awhile, it’s fine to use. But once you open something, and you let air get in, use it within three to six months, especially if it’s an emollient product. If it’s a powder-based product, use it within six months to a year.

ULTIMATE COLLAB! PUMA X MAYBELLINE Collection, maybelline.com

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LIGHTNING ROUND We asked GRACE Lee to weigh in on some of today’s most pressing beauty issues…

Matte or gloss?

Gloss.

Colorful or nude?

Colorful.

Minimal brow or full, thick brow?

Full brow.

Faux lashes or just mascara?

Just mascara.

Strong eye or strong lips?

Man, that’s like asking someone to name their favorite child! I would say strong lip.

Doing makeup for shows or doing makeup for editorial shoots?

They’re still very different.… I’d say show.

Glitter or highlighter?

Highlighter.

Dramatic or natural?

Dramatic.

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THIS JUST IN! MAYBELLINE NEW YORK TattooStudio Brow Pomade Long Lasting, Buildable Eyebrow Makeup in Soft Brown, $9.99, maybelline.com

2/9/19 7:15 PM

NextAct

letters

from the editor Just because Graydon Carter bid adieu to the world of corporate publishing doesn’t mean that he’s fini with journalism. After relishing (nearly) a year in Provence, Carter is in full start-up mode with Air Mail, his digital weekly newsletter, which he promises will “unfold like the better weekend editions of your favorite newspapers.” Over afternoon tea at the perennially chic Waverly Inn, the jovial publishing icon reminds us why the world will be watching whatever he does next.

GET YOUR

BY ashley baker PHOTOGRAPHY BY vicente muñoz Shall we do this in French or English?

Either way.

Really?

No. [Laughs] Let’s start with France. Where exactly were you?

A small town called Opio, in the southern tip of Provence.

It’s about 20 minutes from Antibes, 30 minutes from Nice, and 30 minutes from Cannes. We’d planned it for a good while. My last day at Vanity Fair was December 13th, and on the 15th, we were on the plane. It was one of the best years of my life. We had a magnificent Christmas—my children all came with their wives, and my wife’s father was there.…

And on New Year’s, we stood on one of the terraces in the house, and we could see the fireworks of Mougins, Cannes, Antibes, and Nice.… It was quite magnificent.

Your routine there must have been quite different…

It was very welcome, and I didn’t miss anything, other than the people from Vanity Fair. It was a relief not to have any real responsibilities, so I had time to read and think. I got about 2,000 letters when I left, and I replied to everybody. That took a while, and then I spent two months doing basically nothing—reading and going to the market town every day, drawing…

What were you reading?

A lot of novels set in France—Maigret mysteries, Henry James, Edith Wharton, some Dickens. And all the

GRAYDON! Sign up for the latest Air Mail updates at—you guessed it!—airmail. news; the platform is officially launching in July 2019.

political books that came out of Washington at the time, and a lot of papers. That would take until 11 o’clock [a.m.] every day.

And after that?

Well, I look like hell, but I have a strong core—I did Pilates twice a week. I quit smoking. And for the past two years, I used to take an Inderal [beta blocker] every day. I stopped doing that.

Back up—you might be one of the few people to move to France and quit smoking upon arrival.

They do make it look awfully good, and you eat outside three-quarters of the year.… I struggled through that. But lots of friends came to visit, and we’d go to Antibes or Nice for lunch. It was pretty wonderful.

So why on earth did you come back?

Well, I always say that you don’t come to New York for the ease of life here—you come because of family and friends. I have five children, two of whom live here, and one of my daughters is in Los Angeles. She came to visit

us [in Opio] twice, but I wanted to be closer to her, and I wanted to get back and do something and see all my friends and family.

I was in Paris right after the ’16 Presidential election, and the French were so sympathetic. At restaurants, strangers would approach me and say, “How awful! The shame!”

[Laughs] Yes, quel dommage. Actually, [Donald Trump’s] name never came up the whole time we were there. It was avoiding the elephant in the room, literally. In that part of the world, they don’t talk politics the way they do in the North [of France]. They’re calmer, happier than they are in the North. They’re nicer toward North Americans doing their best to speak restaurant French.

Has your French markedly improved?

Yeah, it has. I can order without anyone peeing in my soup. Well, I’m hoping that’s the case.

Moving on to Air Mail. What inspired this project?

Well, I read the international papers every day, and for

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30 years, I’ve been clipping articles and sending them to friends. I wanted to do something that I could run off a laptop, something that I would read, and something that was not read on the news, because I don’t want to be on a daily anything. Alessandra [Stanley] and I had worked together at Time in the late ’70s, early ’80s, and she was the first person I called. I knew she’d worked in Rome and Moscow, so she had an international view and was very sophisticated. I didn’t realize she speaks five languages!

We’ve always gotten along, and she was interested right off the bat. She and I pulled together a dummy, just to see what it would look like, and an art director, Angela Panichi, who’d been working off and on for me for 15 years, designed it. I’d send her sketches, and she’d make them better. Air Mail is designed differently than most news things you’ll get on your phone. It has beautiful, magazine-quality design.

I know you’re still hiring staff, but who’s working with you and Alessandra on this?

Bill Keenan is our chief operating officer, and Emily Davis is our chief marketing officer. There are a number of former Vanity Fair colleagues on board, including Chris Garrett, Beth Kseniak, and Julia Vitale. I have an office down the street, but we needed larger office space, as we’re also bringing in a photo editor, a copy editor, fact checkers, and assistants. Nathan King, who was my assistant, is now our deputy editor. Laura Jacobs, whom I used to work with at Vanity Fair, is the arts editor; she’s overseeing our Arts Intel Report, or AIR for short.

What’s that about?

When I was in Europe, there was no central hub to find out what was going on in the artistic community. I was introduced to this incredible engineer, John Tornow, who lives in Dallas, and he built a platform for us—it’s a matrix.

Let’s say you’re going to Berlin in June and you love opera—it’ll tell you all the opera performances that are happening in Berlin during the time you'll be there.

In terms of the business model—it’ll be a subscription fee, plus one weekly luxury advertiser sponsorship?

Yes, one sponsor per week, and they get three or four placements. There’s no programmatic advertising. We’re going to leave that money on the table, because I don’t like seeing an ad from Geico run across the screen when I’m trying to finish an article. It’s one sponsor per Air Mail per week, and there will be a subscription fee—we haven’t zeroed in on the exact amount. It will not be high, but it will be something.

It’s pretty encouraging that subscription models tend to be working.

I think it’s easier for something new to charge than a legacy brand, because if you’ve been giving it away for free, it’s hard to get people to pay for it. Whereas, if that’s the deal right up-front…obviously there’ll be people who won’t want to pay. We’re bringing in social media experts and all the rest to help us find our way.

And any focus groups?

No focus groups, no data mining, no algorithms. I mean, look at me. Do you think I would know what an algorithm is? No. Alessandra and I are very much pure and oldfashioned; we’re providing something and hoping people will like it.

Is print dying, or is it already dead?

First of all, this is an extraordinary time if you’re in journalism. There’s more great journalism being done now than in any time in my adult lifetime. The Atlantic, The New Yorker, New York, The New York Times, The Washington Post, The Wall Street Journal, CNN, MSNBC— they’re extraordinary, and better than ever. The print

“

[my schedule] is a lot like trump’s. i monkey around in the morning, and I don’t do a lot before 11 a.m. i was reading his schedule…and i thought, ‘goddammit, this is really similar.’ except for the tanning part.”

part is hard; it’s a rough, big, expensive business. It will eventually probably drop off. Having a printed thing will be like having a monocle. It’ll seem studiously oldfashioned in 10 years, because of the ease of getting [digital products] out there.

What’s your schedule like these days?

Unfortunately, it’s a lot like Trump’s. I monkey around in the morning, and I don’t do a lot before 11 a.m. I was reading his schedule on Axios, and I thought, “Goddamit, this is really similar.” Except for the tanning part, whatever that is. But I go into the office, spend three hours there, and have lunch with a friend, usually. And I work every night after we’ve been out for dinner.

You’re a night person?

No, no. Unfortunately, I’m not a morning person, either.

I’m a little bit of a late-morning person and a little bit of a late-afternoon person. I’d be usually having a nap around now—I like a 10-minute nap almost every day.

There were rumors that you were interested in buying Vanity Fair. Did that ever cross your mind?

No. At one point, I think we talked to [Condé Nast CEO] Bob Sauerberg about possibly buying Vanity Fair, but they didn’t want to sell anything. They want to hold on to the big magazines.

We loved your exit strategy. Pretty bold!

Beth [Kseniak, former executive director of communications at Vanity Fair] and I did it together.

There were a bunch of people at the office involved.

I just thought, you know, the Newhouses treated me so well for so long, but I wanted to go out on my own terms. I had dinner with Steve Newhouse the night I announced I was leaving.

So many of us in media have had our spirits crushed at some point.

Oh, we all have.

It seems like yours is still remarkably intact.

No, I’ve been crushed. I had a magazine in Canada that folded.… Life is all about a million little failures. You just try to not let them cripple you. I also tell my kids, “The adventure is the journey. The arrival is the relief.” You almost never learn from success. You only learn from failures, and you do your best to make those failures small—and if you can, private.

Any plans to delve into Hollywood?

We have a deal with HBO. The first three Air Mail documentaries we’re co-producing are Alex Gibney’s documentary on Theranos [The Inventor: Out for Blood in Silicon Valley], which comes out at the end of this month, one I co-produced with Susan Lacy on Ralph Lauren that comes out in May, and another one, about an aspect of the Internet, will come out next spring.

Tina Brown wrote a memoir about her tenure at Vanity Fair.

Oh, did she?

[Laughs] And you’ve written the first chapter of yours.

I had lunch in London with James Fox, who co-authored the Keith Richards memoir, and he wrote White Mistress—

he’s a great writer, we worked together for 25 years at Vanity Fair. He sort of gave me some tips on how to do it. He said, “Tell 10 great stories.” Many years ago, I took a year off and spent seven months working as a lineman for the [Canadian National] railroad. I’m writing that chapter now. The Vanity Fair parts will be slightly easier.

I’m reading all the memoirs I’ve loved as a kid again, just to see how they did it.

As a father of five, give us your thoughts on American youth and their media consumption.

My kids are atypical. If you asked my youngest daughter [Isabella, age 10] who Moss Hart is, she’d probably be able to tell you. They’re all book readers. In fact, my middle son is the best-read person I’ve met in my life.

He’s also a phenomenal video gamer. I don’t know if a book life and a digital life are mutually exclusive. The kids I bump into… I’m incredibly encouraged by their goodwill

LA VIE EST BELLE Graydon in France, photographed by Anna Carter.

and their kindness. They’re no more self-involved than baby boomers were, believe me. The baby boomers were the most self-involved generation. In fact, every generation is self-involved. So I am encouraged by them— they’re wonderful people, most young people. Millennials are now 30 and having kids—they’re not gonna be kids on Twitter and Instagram all the time. Because of the exponential force of the Internet, there’s an exaggerated aspect of young people who live for Instagram, trying to show they have a more fabulous life than all their friends.

But that’s a small exception; that’s not the rule.

Well, we can’t wait to read Air Mail. You should capitalize on those 2,000 letter-writers—put them on the subscriber list!

It’s funny. We have a landing page [on airmail.news] that invites you to put in your e-mail address to get more information. Right after The New York Times story ran, we had more than 4,000 inquiries. That was a good sign.

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EXECIntel TOP BRASS Clinton, in his Hearst Tower digs.

As Hearst’s president of marketing and publishing director, Michael Clinton has been ensuring his company’s success throughout one of the most disruptive periods in media history. As he gallops into 2019, Clinton takes stock.

BY ashley baker photography by william jess laird

The

CLINTON How are you feeling about what’s happening in media as 2019 kicks off ?

There’s a big shift back to quality. A lot of advertisers who were chasing the shiny, new thing have come to the realization that content matters, context matters, quality matters, and real people who consume content matter.

You’ve got to be aligned with brands that have authority and legitimacy.

Why are Hearst brands in particular poised to benefit from this attitude?

It takes a long time to build a brand with trust. Whether it’s in media or fashion, there are always new players coming in. But [Hearst has] the consistency, longevity, commitment. We’ve been at it for decades and decades,

always moving with the culture. The big difference now is that we do that not just in print but in digital, social, video, and other platforms. That allows us to lean into that legacy, but [moving it into] the modern world.

Events are an important part of your business.

What was the impetus behind building those, and how have they grown throughout the past few years?

We’ve been aggressive on the events front, and we’re going to be even more aggressive in the future. Harper’s Bazaar Icons, the [Town & Country] Philanthropy Summits, the Marie Claire Power Trip, and Elle’s Women in Hollywood event are all important for the franchises, and we’ll build on those. But we also have the ambition to build, and we’ll be doing bigger, consumer-centric

events off of those brands and others. Imagine opening it up to even more people to come and experience our brands in unique and different ways.

You recently announced some major changes on the publishing side of the business.

I think we have the best talent in the business, and being able to promote from within is always my No. 1 priority.

Donna Lagani, the publisher at Cosmopolitan for a long, long time, had been talking to us for a year about a new career. She’d been interested in philanthropy, and she landed at the Hearst Foundation. That opened up some movement in the company. Nancy Berger, who was the very successful publisher of Marie Claire, now moves into that seat. Jennifer Levene Bruno, who has run Town

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co u rt e sy

ADMINISTRATION

co u rt e sy

YOU HAVE TO EVOLVE AN EDITORIAL PRODUCt; YOU CAN’T JUST MAKE A SHARP RIGHT TURN AND THINK EVERYONE IS GOING TO FOLLOW. & Country very successfully for 10 years, had been the publisher of Veranda and the associate publisher of House Beautiful. So as [Hearst Design Group publisher] Kate [Kelly Smith] announced that she was going to go to her third chapter, it gave us an opportunity to have Jenn expand her portfolio. With Nancy’s move, we were able to promote from within with Blair Hecht, who was the longtime No. 2 at Elle.

How are you selling these brands at the moment?

We’re kind of agnostic, actually. With our partners, we ask, “What are they looking for? What are they trying to solve? What is their objective?” Sometimes, that’s a video-first approach; sometimes, it’s a native content approach first; sometimes, it’s print first. It really doesn’t matter to us, because we can bring a solution to [marketers] on any and all platforms.

At the end of last year, we repositioned our entire go-to-market strategy, which is called Hearst Media Solutions—tell us your goal, we’ll come back to you with a solution. So that can include many things, and there are a lot of dimensions to the relationship, which allows us to grow our revenue in many ways.

Hearst has a reputation for hiring, and also promoting, star performers. What are you looking for when you hire these days?

Creativity and innovation on the publishing side is just as relevant as it is on the editorial side. I look for executives who are fluid and creative when finding solutions for a particular client. You have to have expertise built into your skill set, so you understand the important role that print plays. Particularly in the fashion luxury world, there’s such a deep community, and editorial relationships that are really unique and important. You also have to understand what roles digital and native content may play.

For the past several years, we’ve been talking about native content quite a bit. Is it as important as ever?

Explosive. We’ve done huge projects over the past year; we’re doing a lot in the fashion luxury space.

We’ve done major projects with Bloomingdale’s, Macy’s, Saks Fifth Avenue, Rolex, Armani, Tod’s, and others. The beauty is that we can help brands create a lot of assets that live in a lot of places through our content relationships. That, combined with data insights and segmentation, is really a big part of our go-to-market [strategy].

We’ve seen a lot of print titles shutter in the past year. Why isn’t that happening at Hearst?

Our editors are very much on the pulse of the culture, and of their readers. You have to evolve an editorial product; you can’t just make a sharp right turn and think everyone is going to follow. The best editors will always say, “If you pick up an issue from six months ago, you’ll say, ’Wow! That’s really different from [what the issue looks like] today!’ ” But you’d never notice it, because we’ve been really great at bringing the reader along. We’ve also made big commitments to print. Our fashion luxury books are oversize, and we’re committed to high production

and quality. We’ve made huge investments to our print products, and maintain those, as opposed to others who have not. Our consumer responds to that. Our editors are really good at finding unique ways to tell a story, and the customers connect to that. I think a great example of that this past year is the project we did with Michelle Obama and Oprah Winfrey, which was a new type of editorial approach.

Portions of that interview landed in seven or eight of our titles. I call that an “editorial happening,” and we’ll do more of that in the future. We’ve always been very print-proud, in addition to being very digitally proud. I think others have moved away from their heritage. We embrace our heritage, build off of those products, and then expand into other platforms; that’s our difference.

It’s good to be Hearst!

[Laughs] It’s good to be Hearst.

You sound very optimistic.

I’m an optimistic person, for starters, and we’ve had huge success in our global, digital offering that is unique for a multi-titled publisher. We’re making huge investments, and we have more data-consumer insights and segmentation, which is going to be a game changer. We now produce more fashion luxury content than any other media company in the world, in both the U.S. and globally. We’re the No. 1 partner for fashion luxury brands in their print and digital businesses. We’re well poised to add muscle to that in the things we do. One of the things that has been explosive for us has been the huge digital growth, particularly with Harper’s Bazaar, which has about 26 million uniques. I kind of always chuckle when a site is born. They have a few million uniques and proclaim that they’re the next big thing, and you’ve never even heard the name. Well, the fashion consumer knows Harper’s Bazaar’s [name], and 26 million uniques have real impact. Our big strategy on the content side at Hearst this year is something we call “Content With Purpose,” which is born out of data insights. We have a proprietary tool that allows us to mine the insights of our consumers to then create the content that really has great connection.

This is [chief content officer] Kate Lewis’s initiative.

We really enjoyed your latest photography book, Santa Fe. What’s next?

I’ve done eight photography books, and I also wrote a book called The Globetrotter Diaries. I’m writing another book—a type of memoir—that’s coming out at the end of the year.

Between running the publishing side of Hearst and traveling all over the world, where do you find time to write books?

It’s built into my personality. People who do many, many things are just wired that way. I’m not particularly unique. I think of the old expression “Give a busy person more to do.” People will always say, “Do you ever relax?” Working on this project or training for a marathon is relaxing to me. I’ve never been a couch potato; I need to be busy. Life is a banquet.

MICHAEL’S

MAVERICKS

Here’s a closer look at Hearst’s newly promoted executives

KEVIN O’MALLEY

Blair Hecht

senior vice president, publishing director/ chief revenue officer of ELLE and Marie Claire

publisher of Marie Claire

Cancer Lives in: Rye, New York. “I moved out of the city years ago—my four boys need space and fields!”

Leisure pursuits: “Spending time with my family, reading, and training in new, different ways.”

Star sign:

If you weren’t a publisher…

“I’d be working in the entertainment industry. My dream job is playing pro soccer in the European league.”

Pro tip: “Pay careful attention to how new technologies are used by consumers (i.e. AR), offers insights on pathways for brands to follow. Be wary of AI. It may be predictive, but that doesn’t make it prescriptive.”

Favorite recent read:

Being Mortal, by Atul Gawande

Nancy Berger Senior vice president, publishing director/ chief revenue officer of Cosmopolitan, Women’s Health, and Seventeen Star sign: Leo/Virgo cusp Lives in: New York City. “I

recently moved back from Westchester, and I’m loving my new commute from the Upper East Side to the Hearst Tower.”

Leisure pursuit: “Walking our Bernedoodle puppy, Madison, in Central Park.”

If you weren’t a publisher…

“I would be a professor teaching sales and marketing. I would also teach SoulCycle on the side.”

Pro tip: “Ask for forgiveness, not permission.”

Favorite recent read:

Leadership: In Turbulent Times,

by Doris Kearns Goodwin

Star sign: Sagittarius Lives in: Pelham, New York LEISURE PURSUIT: Traveling If you weren’t a publisher…

“I’d be working full-time with a nonprofit organization supporting underprivileged kids, such as WIN or Association to Benefit Children. In fact, my New Years’ resolution is to commit more time to both of those organizations in 2019.”

Pro tip: “In our busy, fastpaced world, find, and more importantly, work hard to stay connected and in touch with a mentor you respect and admire, professionally and personally.

The onus is on you to stay in touch, but these relationships are invaluable both for your career and your life.”

Favorite recent read:

The Lightkeeper’s Daughters,

by Jean E. Pendziwol

Jennifer Levene Bruno vice president, publishing director/ chief revenue officer of Town & Country, House Beautiful, VERANDA, and ELLE DECOR Star sign: Aquarius Lives in: “The Jerz, on a

mountain overlooking a lake.”

Leisure pursuit: “Exercise, at 5 a.m. in my home gym on weekdays. I got into biking last year and signed up for a Jersey Shore 55-mile ride benefiting Alzheimer’s Association.”

If you weren’t a publisher…

“It’s a toss-up between executive recruiting or a nutritionist, as both focus on wellness and personal development.”

Pro tip: “Optimism is the faith that leads to achievement.”

Favorite recent read:

The Other Wes Moore,

by Wes Moore

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TAKE US TO your LEADER! Bob is out, a new CEO is (eventually) coming…what exactly is going on at Condé Nast? We went straight to the top and got the answers from Pamela Drucker Mann, the company’s chief revenue and marketing officer.

BY ASHLEY BAKER photography by william jess laird

There’s been a flurry of executive changes at Condé Nast in recent months—please walk us through your role and responsibilities.

I’ve been at Condé Nast for a little over 10 years. I started out as a publisher, and I worked on brands such as Jane, Glamour, and then Bon Appétit. Then I moved to the Food Innovation Group, and then I moved into the chief marketing officer role. I love thinking about new ways to innovate. But at the core, I’m very much a revenue person, so a year after I became CMO, they added the revenue responsibilities to my title. Today, I run all marketing and revenue for Condé Nast.

How are those groups structured at the moment?

At our corporate summit in November, we made a big statement that we were transitioning from a publishing

company to a full-fledged media company. We make a lot of content for our owned-and-operated platforms, but we also make a ton of content for Facebook and Instagram. We’re YouTube’s biggest content partners.

And so we needed to create a structure that matched the way we were connecting with our audiences every day. I wanted the person who was running fashion for the company to be able to go to see one client and talk about 10 things, as opposed to 10 different people from my company going to the same client to talk about those same 10 things. So we organized our company by three divisions, and now we have three CBOs—chief business officers—who manage a collection of brands.

Which means…

Look at them as brand managers. They’re creating the

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We changed the entire way that we make content. While we were going through that process, it would’ve been nice if people could’ve hugged us, but you know, it’s OKay that they didn’t want to.” go-to markets; they’re like the faces of the brands. Susan Plagemann runs style—she’s got Vogue, GQ, Glamour, W, Brides, and Allure. Separate of that, she runs beauty and fashion on behalf of the entire company. She’s talking to the CEO of Gucci all the time, and what a great opportunity for her to share with the CEO of Gucci all the ways that our company can be a better partner. The CBO who runs Bon Appétit also happens to own the home and [consumer packaged goods] categories. We can also bring scale as an advantage to a lot of the new ways that we’re working with our partners. So we just move a lot faster. I can use the word “agile,” and it actually is a real thing.

Which buzzwords are you hearing the most as 2019 progresses? “Video,” “branded content,” “Instagram”…?

Marketers are realizing that technology is enabling them to get closer to their consumer than ever before, but what do you say to them when you get in front of them?

I was at CES [the Consumer Electronics Show] in Las Vegas, and there was a massive discussion about how when content is not scarce, the scarcity becomes good content. “Content” isn’t just about the content we make; it’s also the content our advertisers make. What does it really mean to earn attention? You’re seeing a different approach and a different level of investment. Of course, people are still talking about safety and data breach, and how the customer feels about that.

What’s the latest with Condé Nast’s video business?

The video business is insane. We’re like babies in this business, and it’s kind of fun to be the new kid on the block for once. We launched our entertainment division five years ago, and we were nowhere. By the way, the marketplace wasn’t a big digital world yet. YouTube had a huge head start, especially around user-generated content. If you think about digital video content in general, it wasn’t really good content. It was really fun and viral, but the idea of watching a new series that was developed specifically for digital video…that wasn’t something that most users would definitely check the box for and be like, “Oh, yeah.” It wasn’t winning Emmys or any major awards.

The video digital space is getting a lot more competitive, which is way better for users. Consumer habits are changing, and we’re getting more comfortable with watching long-form content on our smartphones. We just completed our first upfront, and we’re competing with all the broadcast networks for the first time. We’re not trying to be the biggest; we’re trying to be the best.

Condé Nast has launched several new brands in recent years. Any favorites?

The Them platform. As someone who’s part of the LGBTQ community, I felt like there was definitively white space,

and I’m really proud of what Them is about and what it brings to the table. I was really proud of Condé Nast for launching that brand. It’s undeniably good and provocative for all the right reasons, but it’s not trying too hard. Not far behind that is Vanity Fair’s Hive. Politics isn’t always the go-to for monetization, because advertisers shy away from content that’s too political. I was also proud of Condé Nast for launching that brand, because it’s about the content and connecting with our audience. We didn’t put that much pressure on these brands to be what some of our legacy brands were. Some of them are social-first, some are really newsletter-driven. At the end of the day, intuitively and organically, the advertising has grown, because they’re thoughtful, smart and innovative.

There’s a new crop of editors at the company. How have they been received by the marketplace?

I was just talking about Will [Welch], who’s the new editor at GQ. He’s a rock star. And Lindsay [Peoples Wagner], who’s the new editor at Teen Vogue, is a rock star, too. And Whembley [Sewell], the new editor of Them, is amazing, and Jon Kelly, who runs Hive, is unbelievably brilliant.

They all have one thing in common, which is that they’re brilliant. No one is more fearless than some of these new editors. They come in with nothing but great ideas and a clear path, and they’re really excited about working at a company that believes in creating a quality content experience that puts the audience first. Puja Patel [editor in chief of Pitchfork] is amazing, too. And Sam Barry—she’s like one of my favorite humans in the entire world. She’s brought something to Glamour that I don’t even think we expected her to bring to Glamour. They all fit right in with our iconic editors, who continue to just blow me away. David Remnick [of The New Yorker]—I don’t know how he does it…I really don’t. There’s a level of innovation there that is undeniable. When you put all these people in a room, you’re like, Wow. We’ve got this powerhouse of amazing creatives from Anna [Wintour] to Nick Thompson on Wired, and then the new crop, like the Lindsays and the Whembleys. And it seems like I’m always bragging about him too much, but yeah, [Bon Appétit Editor in Chief] Adam Rapoport, he’s a genius.

There’s been some negative press about Condé Nast in the past year. Just a touch!

I have not seen any of it. [Laughs] Is it unfair?

We’ve gotten a bad rep. For whatever it’s worth, when they stop talking about you, it’s a problem. People are obsessed with the success of Condé Nast. I’m happy for that—I’m glad people care about our livelihood. Yes, we were a print company, and that was our distribution mechanism, but it was everyone else’s as well. And then the digital world

and user habits started to change, and our dedication to our print products wasn’t just because of our disinterest in transitioning or changing, but that’s the business we were in for a really long time. We changed the entire way that we make content, and where we put our content. While we were going through that process, it would’ve been nice if people could’ve hugged us, but you know, it’s okay that they didn’t want to. I’m really proud of what we’ve done. Even though we got smarter about distribution and data, the quality of our content never wavered. We never sacrificed quality for platform. Not one story has yet come out that has said Condé Nast’s content sucks.

That’s because no one can accuse us of not making the best possible content experience. At the end of the day, it took a minute for us to transition, but we’ve transitioned.

We’re not nearly done making that transition, and we’re still learning a lot as we work through it. I understand the interest and the criticism, but if you look on the inside, you’ll see a company that’s done a lot in a very short period of time. It takes a lot to be a company that matters.

CONDé

BY THE NUMBERS

2 10

Pulitzer Prizes awarded in 2018

Ad Age A-List Awards in 2018

3.2 253

billion global video views on YouTube in 2018

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GLAMOURGirl

Cindi’s second act It’s been a little over a year since Cindi Leive exited Glamour after a 16-year run as its editor in chief. We decamped to Dumbo House in Brooklyn to secure the scoop on her grand plans.

BY EDDIE ROCHE PHOTOGRAPHY BY WILLIAM JESS LAIRD How have you been spending your time?

For the first couple of months, I tried very consciously not to have too many things on my to-do list, as difficult as it was for me, constitutionally, to make that a reality.

Shortly after I left Condé Nast—totally by coincidence—my husband donated a kidney to his father. Because I was free of the day-to-day office obligations, I could be there for both of them. It was such a pleasure and delight and luxury to be able to be fully and completely focused. We all try to be there for major life events, but the reality is we often aren’t. They’re both doing really well now.

Did you take any fabulous vacations?

Yes! This has been a year of great travel for travel’s sake, and I’m not going to stop that any time soon. A friend suggested that we run a half marathon on Mallorca, [Spain], which I literally had to look up to determine the location of, and we did it, and it was a huge amount of fun.

Do you feel like you’re working for yourself now?

I am. I have what feels like a fun and occasionally hectic portfolio of initiatives and projects. I’m doing a senior fellowship out at USC’s journalism school, which is run by [dean of the USC Annenberg School for Communication and Journalism] Willow Bay. I’ll go four times over the course of this school year giving talks, moderating panels, and generally using it as a home base to talk about the state of gender and media. I’ve been doing speaking engagements around the country and the world

about this particular cultural moment that we’re in for women. I also have a small consulting business working with brands that are trying to make a difference in the world for women and to reach their female consumers with a more meaningful, substantial message.

How are your stress levels?

I don’t know if I was ever hugely stressed; I’m probably less sleep-deprived than I was.

Would you ever run for office?

I don’t think so. When America Ferrera was asked that question, she said, “I think anybody who is interested in the world around us and how to make it a better place has probably thought about running for office.” I relate to that, and everybody should ask themselves that question. That having been said, no, I don’t want to do it.

Do you wish you had left Glamour sooner?

I don’t. I don’t think you get anywhere by secondguessing your life like that, anyway. It was the perfect moment for me. One of the things that’s been most satisfying has been being able to make decisions solely on the basis of what I believe in and what excites me personally. I am momentarily freed from seeing anything through the lens of a brand or someone else’s bottom line or the interest of a team of people, all of which are things you should be doing when you’re running an organization right. But it’s been satisfying to just have a moment, even if it is only a moment, away from that.

Thoughts on Glamour’s print edition folding?

I posted about it on Instagram the day after that announcement was made. I said what I felt, which is I think it’s important to pay tribute to the fact that there were a lot of amazing writers and illustrators and photographers and editors whose work came alive on those print pages across so many decades—so much of it before I was the editor there. So I think it’s important to pay tribute to that.

But, of course, everything changes and things evolve.

What do you think print’s future is looking like?

Print will never be the center of the media universe as it once was. But do I think it can be a very particular, if smaller, star? Probably. I tend to think that the future of print is most likely much smaller circulation, more niche publications that are probably as much like books as they are magazines that the previous generation grew up on. Print will have to be really physically arresting in order to survive.

Do you miss going to Paris and Milan and the shows?

Is it terrible to say no? I love Paris, and I like Milan, but no.

I don’t miss that, which for me was kind of a sign that it was time to leave. You don’t want to become that asshole complaining about going to Paris and Milan.

Tell us about some of your TV projects.

I’ve been doing a little bit of on-air stuff, including covering the royal wedding for Good Morning America.

I was also a producer on a pilot for Showtime this fall—a sort of news-driven show for women starring my friend Amanda de Cadenet. Even in this day and age, there’s still a shortage of great TV news content aimed at women.

It’s kind of startling, actually.

We imagine you must also be writing a book!

I am! It’s a memoir that covers the evolution of feminism as seen through my mom’s working life. She was a biochemist when very few women were scientists; she graduated with a bacteriology PhD from Harvard and then ran a lab at the National Institutes of Health. My mom passed away when I was 19, so it’s also a little bit of a fact-finding mission. I’m trying to find the advice that I’ve given writers year after year after year, which is… make it more personal, make it more personal, make it more personal. But man, it’s harder advice to take than it is to give. Sorry to every writer I ever pushed!

co u rt e sy

BEAUTIFUL MEMORIES Glamour covers from the Leive era.

FA S H I O N W E E K D A I LY. C O M

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February 8 – April 20, 2019 Admission is free

fitnyc.edu/museum #50YearsofMFIT

This exhibition has been made possible thanks to the

rapoReport

The Elder stateSman *

GIVE IT A REST! Adam Rapoport thinking deep thoughts in his office at 1WTC.

* N ot to be ta k e n li t e ra lly

In 2011, Adam Rapoport was named editor of Bon Appétit and became Condé Nast’s shiniest nextgen star. Just a few short years later, during a period of massive change in the publishing world, he’s become one of its most-tenured executives, and is widely credited as the mastermind behind BA’s golden era. Take notes!

Your revamp of Bon Appétit is one of Condé Nast’s biggest success stories in recent years. Why did it work?

One of the reasons is that we are an editor-first brand.

Our editors are our stars, and we want to share their passions and interests with our audience. The compliment we get most often is, “I feel like I know you guys,” and that’s very much by design. Your personalities certainly come across on Instagram. We launched our Instagram feed eight years ago or so. My edict, if you will, was that we were not going to post any images from the magazine. We’re only gonna include iPhone shots from us, the collection of editors, about what we’re cooking and where we’re going out to eat. At the time, we started with about five editors who were kind of sanctioned to be the contributors to the Instagram feed, because we wanted to make sure that the look was correct—you know, overhead photos, natural light, good-looking food. We got to a point where we had an entire staff of contributors out there who could capture quality food shots and then write about them in a way that was conversational and Instagrammy.

As Instagram has evolved, we have relaxed our notion of “iPhone photos only.” Now, the imagery on our feed might feature something from Healthyish or Basically, and it might feature an image from the magazine pages, or it actually might feature us taking a photo with our cameras of that same dish. The horizons have expanded, certainly.

Are lots of aspiring BA editors sliding into your DMs? Yeah, but if you are young and want to get started in this business these days, I don’t know if starting at a company like Condé Nast makes a lot of sense. I always feel like Condé Nast is a company that you end up at—if you start at someplace smaller, you get the opportunity to do a lot more stuff. If you have a chance to do something for a few years that’s sort of different or challenging, I always endorse that.

What part of your job do you like the best these days?

Definitely not going to budget meetings. I have always

most enjoyed coming to an office with a lot of smart, fun people. As an editor, you’re supposed to be guiding them, but it’s funny how much it works the other way around.

I’m probably much better in a smaller environment—a oneon-one, one-on-two environment—coming up with an idea for a story or a video or a podcast. I’m not great in big meetings and, like, a structured environment. For better or worse, I’ve always written about and edited things that I’m personally interested in, from sports to fashion to food. And the same goes for platforms. If I’m subway-ing to or from work, or running to the grocery store, I’m never not listening to a podcast. As any editor who has sat in a meeting with me can attest to, I’m constantly checking Instagram—all day, every day. And ever since I was at GQ, I’ve always done TV and appeared in videos. These are all things that I personally love. So I just try to bring those same interests and passions to Bon App. What do you make of the rise of the influencer?

For so long, there was this sort of corporate dominance of culture content—if it wasn’t ordained by one of these big fashion magazines, it didn’t count. And then someone like Leandra Medine came along—a smart, funny twentysomething with an opinion on fashion who writes about it in a way that people are going to relate to.

You don’t need to be Grace Coddington, as awesome as Coddington is. In between you could say there’s a lot of crap. But there’s a lot of crap in big fashion magazines, also. It’s still up to you, as the consumer, to decide.

Generally, quality wins out. At some point, influencers get annoying and ridiculously self-promotional, and that’s when people stop following them. We need to appreciate and understand why those people connect, and a lot of it is because they’re sort of honest and organic and true to themselves. We, as editors, need to practice those same traits as well. That’s why Bon Appétit has a great Instagram feed, that’s why our videos work, that’s why our podcasts connect—it’s just us being us. And

that’s been a struggle over the years for big corporate publications, because oftentimes, they don’t feel as personable and honest as they should, and the ones that do often succeed.

Going into 2019, there’s been a lot of unsettling news coming out of Condé Nast. How are you feeling, generally or specifically?

I always feel really bullish and confident within Bon Appétit. With this staff and the opportunity to do what we do, we, in general, do a good job. The challenge is when you realize that you’re part of a much bigger company that is having to face the turbulence that this industry is enduring right now, so that’s when things like budget meetings, reorgs, the weekly executive announcement e-mail come into play. Every big company from Meredith to formerly Time Inc. to Hearst is having to figure it out.

These have been two really challenging years for the industry, but we’ve launched Healthyish and Basically, we’ve gotten this YouTube channel to just a point of really killing it, our events have grown exponentially.…

I think we’ve accomplished more in these challenging times than we did in the six years prior that I’ve been with this brand. A lot of times, when you’re tasked with a challenge, you succeed the most.

Without looking back on your long and illustrious career at GQ, we do require your thoughts on what Demna Gvasalia is doing at Balenciaga.

Andy Baraghani, our senior food editor, walks around in his very fancy Balenciaga sneakers, making sure to never drip anything on them. I love it, because it gives me something to make fun of him about. There’s no way that [Balenciaga] could’ve known that that was going to be a success. In this day and age, when margins are so tight, you still have to be allowed to fail. If they succeed, they could be your defining moment. If you only do what you already know will succeed, it will just be marginally okay at best. And what’s the point of that?

FA S H I O N W E E K D A I LY. C O M

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TOPTalent

MEET THE NEXT GENERATION of

MEDIA MAVERICKS!

Here are the newly installed talents who are topping some of your favorite mastheads. We’re already obsessed!

Kristin Koch

Jessica Pels

Editor In Chief, Out Astrological sign Aries Spiritual age Timeless, honey.

Hometown North Andover, MA Alma mater + graduation year NYU, Gallatin 2012 OUT’s mission is…To uplift and elevate the voices and visionaries of the LGBTQ community.

Reports to Nathan Coyle Mentors Anna Wintour, Eva Chen, Mikki Halpin Leadership style Hire the best, then allow them to be their best.

What initially drew you to working in media? Jennifer Aniston’s first magazine cover, of Vanity Fair, after her separation from Brad Pitt.

What’s your preferred social media platform? Instagram Who are your favorite social media personalities? @biglilkim, @cher (on Twitter), @padmalakshmi (across all platforms), @bagsnob Your front-row look consists of… I can’t stop wearing ankle boots with a bitchy heel—my favorite pair is Saint Laurent. I used to be a sneaker girl, but I think I’m officially converted.

What makes you jealous? People who can maintain vegetarianism, daily meditation, and daily exercise without falling off the wagon. So aspirational.

Any resolutions for 2019? Do something each day that makes someone feel really good.

Executive Director, Seventeen Astrological sign Pisces Spiritual age Hmmm…17 for life?

Hometown Chicago Alma matter Colgate University Seventeen’s mission is…

1) To empower young people to follow their dreams and change the world.

2) To help young people navigate the tricky high school, college, and young adult years.

3) To create an inclusive community where young people can have fun, fangirl, relax and escape the stress of life.

Reports to Kate Lewis and Brooke Siegel Mentors Kate Lewis and Brooke Siegel; my former boss, Betsy Fast; my colleague and House Beautiful and Delish Editorial Director Joanna Saltz; the previous editors of Seventeen, who taught me so much, including Joey Bartolomeo, Michelle Tan, and Ann Shoket; and one of my first bosses, Cindi Leive.

Leadership style I am a big believer that people are everything, so I try to hire the best team and then I see it as my job to give them the tools they need to succeed. It’s really important to have a strong vision and be decisive. You may not always make the right decision, but I listen to my team and trust in their expertise, as well as my gut.

What drew you to working in media?

I loved magazines. I made my own as a little girl, and I always loved writing. I loved the idea of being able to continually learn and explore different topics, and to inspire and empower other women.

EDITOR IN CHIEF, COSMOPOLITAN Astrological sign Virgo Spiritual age 28 Hometown Atlanta Alma mater + graduation year NYU, Tisch School of the Arts, class of 2009 (but I graduated in December ’08) What’s your mission for your brand, in 250 characters or less? To make it as fresh and fun as its readership is.

Boss The amazing Kate Lewis Mentors See above! Plus Cindi Leive, my first boss in the biz, and Amy Astley and Anne Fulenwider—all amazing women with incredible visions I was lucky to learn from.

Leadership style I’m a big believer in hiring people who are independent, invested, and passionate. I think about my staff more as a group of collaborators with me than people who work for me. I listen to all voices on the team, and consider all opinions, but I feel confident in the call I make at the end of the day. I use data to drive a lot of my decision-making—not in a mindless numbers-chasing way, but in the sense that it gives me an acute understanding of my reader, and I can decisively move on what I know will resonate with her.

What initially drew you to working in media? Growing up, I loved movies, and I realized it’s because fiction can be a greater truth-teller than the real world is. It breeds empathy. That’s what drew me to story-telling overall.

What makes you jealous? Someone who seems like they got a full night’s sleep.

LINDSAY PEOPLES WAGNER Editor, TEEN VOGUE Astrological sign Libra Spiritual age 48 Hometown Brown Deer, WI Alma mater + graduation year Buena Vista University, 2012 What’s your vision/mission for your brand, in 250 characters or less?

Authenticity and inclusivity in everything we do. Teen Vogue is where the next generation disrupts the conversation on everything from style to politics.

Boss Anna Wintour Mentors All of my past bosses.

Leadership style Lead by the example of being a sane human being.

What initially drew you to working in media? The idea that I could impact culture.

What’s your preferred social media platform? Instagram Favorites to follow on social media Frank Ocean and Lizzo Your front-row look consists of…

Something red.

What makes you jealous? When I’m at a fashion party, starving, and I see people eating appetizers, but I can’t find any.

Any resolutions for 2019? None. I’m blessed, and life is a journey.

d r e w e s c r i va ( 1 ) ; g e t t y i m a g e s ( 1 ) ; t y l e r j o e ( 1 ) ; a l l o t h e r s c o u r t e s y

PHILLIP PICARDI

FA S H I O N W E E K D A I LY. C O M

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#ďŹ ndLIMinNYC

Fashion. Business. Education.

Find your perfect fit at LIMcollege.edu/NYC

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