Posted on August 19, 2013 in Archive

The real value of the Vogue print magazine


Vogue Australia has announced that one of its digital arms, Miss Vogue, will be undergoing a transformation that some have described as simultaneously trend -bucking and -setting. What is the real value of the Vogue print magazine?

The eminent magazine gave birth to the Miss Vogue blog in September last year, with the aim of attracting a younger twenty-something demographic and is now set to blossom into a keepsake print edition and an interactive app.

Editor-in-chief of Vogue Australia, Edwina McCann said, “Miss Vogue has been such a success that we’re delighted to be extending the brand into an app and print edition”.

The app will be available from August 30 and the first release of the print editions will hit stores on September 2.

Designed to accompany the app, the print version will combine luxury, high-end and contemporary fashion with feature articles that are personality and pop-culture focused.

Alice Cavanagh, who was poached from Oyster, will be the magazine’s editor, and Vogue Australia’s Christina Centenera will step up as fashion director.

Miss Vogue will be published twice a year, in line with key fashion seasons in September and March, and is being marketed as a luxury, high quality collector’s item.

Pile of Vogue print magazine

Miss Vogue appeals to what loyal readers want – a collector’s item for their coffee table.

McCann rationalises this decision as an accommodation of what younger audiences want: “It’s almost like the nostalgia for vinyl. They still want it on the coffee table because it says something about them”.

Promoting the publication as a luxury item is clever because it appeals directly to the Vogue audience.

The iconic magazine had always been considered a luxurious item, and so undoubtedly, readers will be prepared to pay extra for an exclusive print keepsake.

Unfortunately, in getting caught up with the quirkiness of the act of printing, early reports on this are missing what’s really impressive about the Miss Vogue strategy.

The author claims that the printed version of Miss Vogue is a trend bucking publication and it combats the problem twenty-somethings have with digital magazines – that is, not being able to tear out double page spreads from their iPads and stick them to their walls.

I’d be amazed if any twenty-something didn’t know how to use a printer – a genuinely revolutionary 1950’s invention.

A lot of magazine publishers around the world are employing similar strategies to Vogue Australia – testing the waters digitally and then customising their publications according to customer interest.

For example, Future plc in the UK start any new publication as a blog first.

They wait until an online community has built up and then survey people to find out if they would like to see the blog extended into a magazine. Depending on the demographics of the readers, they then launch either a print or digital magazine (or both).

Like so many others, Vogue Australia has seen how well this strategy has served Future in the digital sphere. That’s the real brilliance of Miss Vogue: recognising a profitable business model and adapting it to suit your brand.

It’s great to see a magazine of Vogue’s size and repute striving to broaden its horizons and cater to the desires of its ever-growing readership.