Horst: Photographer of StyleCataloguesHorst: Photographer of Style.Edited by Susanna Brown;text by, Philippe Garner, Claire Wilcox,and Robin MuirNew York: Skira Rizzoli, 2014.352 pp.Cloth $75.00ISBN 9780847844555Edward Steichen: In High Fashion, The Condé Nast Years 1923–1937.William A. Ewing and Todd BrandowNew York: Norton, 2008.288 pp.; 245 ills.Cloth $75.00ISBN 9780847844555

West 86th ◽  
2015 ◽  
Vol 22 (1) ◽  
pp. 113-118
Author(s):  
Elizabeth Kutesko
Keyword(s):  
Conde Nast

A Guide to the Condé Nast Papers

2009 ◽  
Vol 10 (2) ◽  
Author(s):  
Shawn Waldron
Keyword(s):  
Conde Nast

Collaboration, competition and conflict: The collective labour of fashion photography at US Vogue (1940–42)

2021 ◽  
Vol 8 (2) ◽  
pp. 195-211 ◽  
Author(s):  
Marlène Van de Casteele
Keyword(s):  
Decision Making ◽  
New York ◽  
Material Culture ◽  
Media Industry ◽  
Fashion Industry ◽  
Power Structures ◽  
Historical Sources ◽  
Fashion Photography ◽  
Artistic Directors ◽  
Conde Nast

While the figure of the fashion photographer has been widely discussed, little has been written on image-making as a collective endeavour. Fashion photography indeed results from technical innovations, publishing strategies, editorial policies, behind-the-scenes negotiations and, ultimately, decision-making. This article analyses ‘The Condé Nast Papers’ – a series of internal documents held at the Condé Nast archives in New York – together with US Vogue and Harper’s Bazaar’s editorials and covers to explore how fashion photographs resulted from the collective labour of photographers, editors, artistic directors and many others in the early 1940s. Through these unique historical sources, this article gives a voice to the workers involved in the making of fashion images and shows how decision-making and creativity were distributed across occupations. It also unpacks the negotiations, arbitrations and power relations that underpinned work relations at US Vogue, showing the collaboration, competition and conflict between the different actors. Drawing on art sociologist Howard Becker’s concept of ‘art worlds’ while combining methods from fashion history and visual and material culture, I question the respective status of the multiple authors involved in this activity and the conventions of fashion image-making. In doing so, I argue that fashion photographs are the product of the interactions of a multitude of workers who are embedded in the power structures of the fashion media industry, and whose collective labour is made invisible. My goal is to rethink the ways in which collective labour has been evidenced and produced in the fashion industry.

Transforming the Magazine

2017 ◽  
Author(s):  
Brooke Erin Duffy
Keyword(s):  
Twentieth Century ◽  
Organizational Structures ◽  
Women's Magazines ◽  
Late Twentieth ◽  
Women's Fashion ◽  
Women's Magazine ◽  
Late Twentieth Century ◽  
Perfect Storm ◽  
Digital Spaces ◽  
Conde Nast

This chapter examines the changes taking place in the economies, technologies, and markets of women's magazines in the late twentieth century by focusing on three publishers: Hearst Magazines, Condé Nast, and Time, Inc. Although each of these companies produces several women's fashion, beauty, and/or service titles, their organizational structures are becoming quite varied as they reorient departments, positions, and routines to address contemporary industry challenges. The chapter considers the extent to which changes in the magazine industry can be ascribed exclusively to digital innovations, whether such changes are being felt evenly across the industry, and how they have created a perfect storm that has opened up the question of “what is a magazine?” It also discusses the ways that Condé Nast, Time, and Hearst are addressing the challenges of digitization. The chapter shows that women's magazine companies venture into online and digital spaces as part of their concentrated efforts to resuscitate their magazine titles.

Out of bounds? How Gawker’s outing a married man fits into the boundaries of journalism

2016 ◽  
Vol 20 (2) ◽  
pp. 581-598 ◽  
Author(s):  
Edson C Tandoc ◽  
Joy Jenkins
Keyword(s):  
Field Theory ◽  
Critical Incident ◽  
Boundary Work ◽  
Interpretive Community ◽  
Online Comments ◽  
Journalistic Practice ◽  
Conde Nast

Gawker ignited a controversy when it published an article about a married Conde Nast executive who allegedly sought the services of a gay escort. The popular blog eventually removed the article following condemnation from readers and other journalists. Guided by the frameworks of boundary work and field theory, this study analyzed 65 news articles and 2203 online comments and found that journalists and audiences problematized Gawker’s identity as a journalistic organization and evaluated the article based on traditional standards of newsworthiness, audiences asserted their role in journalism’s larger interpretive community, and that the larger interpretive community assessed the article based on the ethics of outing. Investigating the discourse generated by this critical incident is important because it identifies where journalists and readers draw the boundaries of legitimate journalism, specifies the place of ethics in boundary discourse, and informs journalistic practice about the phenomenon of outing in the news.

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