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Global thing: Vogue Paris / Vogue France



 
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created on: 15/02/2014
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Created on 15/02/2014 by 
Nathalie (5019)Show Version
Name Vogue Paris 
Image VogueParisGlobal.jpg 
Notes : French fashion magazine first issued on June 15th 1920 
Info as displayed on the thing : VOGUE PARIS 
Country : France 
Language : French (Français) 
Credits (Main Page) : Editor : Capucine Safyurtlu 
Credits (Main Page) : Editor In Chief : Emmanuelle Alt 
Credits (Main Page) : Market Editor : Marie Pasquier 
Note to moderator : new1
(don't see the ISSN ? )
Votes : ACCEPTED on 15/02/2014 by Nathalie (5019)
 ACCEPTED on 15/02/2014 by Eva (5511)
Editted on 15/02/2014 by 
Eva (5511)Show Version
Credits (Main Page) :Editor : Capucine Safyurtlu  
Credits (Main Page) :Market Editor : Marie Pasquier  
Note to moderator : removed thing specific creds (only left Editor In Chief) since those creds vary fir every issue
Votes : ACCEPTED on 15/02/2014 by Eva (5511)
 ACCEPTED on 15/02/2014 by Nathalie (5019)
Editted on 30/03/2014 by 
Eva (5511)Show Version
ISSN : 0750-3628 
Note to moderator : added issn
Votes : ACCEPTED on 30/03/2014 by Eva (5511)
 ACCEPTED on 30/03/2014 by Nathalie (5019)
Editted on 07/10/2019 by 
Lo55o (12352)Show Version
Websites   
Copied Wikipedia parts under license : Creative Commons Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0) 
Notes :French fashion magazine first issued on June 15th 1920The French edition of Vogue magazine, Vogue Paris, is a fashion magazine that has been published since 1920. The French edition of Vogue was first issued on 15 June 1920. Michel de Brunhoff was the magazine's editor-in-chief from 1929 until 1954. Edmonde Charles-Roux, who had previously worked at Elle and France-Soir, became the magazine’s editor-in-chief in 1954. 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. She left Vogue in 1966, as the result of a conflict for wanting to place a black woman on the cover of the magazine. When later asked about her departure, Charles-Roux refused to confirm or deny this account. 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 1 June 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. 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. By April 2002, she had rid the magazine of foreign staffers, making it "all French for the first time in many years". The magazine also underwent a redesign by the Paris-based design firm M/M. It aimed to make the title appear more hand-crafted and organic, particularly through the use of collage and hand-drawn fonts. Continuity was created through the use of loose theming for each issue, smooth pacing, and visual uniformity in the shopping pages. 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 Restoin Roitfeld. 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. On 17 December 2010, Carine announced her departure from Vogue Paris effective 31 January 2011. On 7 January 2011, it was announced that Emmanuelle Alt, who had been the magazine fashion director for the last 10 years, would become the new editor-in-chief effective February 1st. 
Source : https://en.wikipedia.org/wiki/Vogue_Paris (en.wikipedia.org/wiki/Vogue_Paris) 
Video French Girls vs. British Girls - with Camille Charrière | Vogue Paris 
Credits (Main Page) : Editor In Chief : Michel de Brunhoff1929 - 1954 
Credits (Main Page) : Editor In Chief : Francine Crescent1968 - 1987 
Credits (Main Page) : Editor In Chief : Joan Juliet Buck1994 - 2000 
Credits (Main Page) : Editor In Chief : Carine Roitfeld2001 - 2011 
Credits (Main Page) : Editor In Chief : Colombe Pringle1987 - 1994 
Credits (Main Page) : Editor In Chief : Edmonde Charles-Roux1954 - 1966 
Editor In Chief : Emmanuelle AltEditor In Chief : Emmanuelle Alt2011 - 
Note to moderator : update
Votes : ACCEPTED on 07/10/2019 by Lo55o (12352)
 ACCEPTED on 11/10/2019 by bob (9090)
Editted on 11/10/2019 by 
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Credits (Main Page) : Published By : Les Publications Condé Nast SA 
Note to moderator : Les Publications Condé Nast SA
Votes : ACCEPTED on 11/10/2019 by bob (9090)
 ACCEPTED on 16/10/2019 by Lo55o (12352)
Editted on 06/01/2021 by 
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Magazine tags : Fashion 
Credits (Main Page) :   
Credits (Main Page) :   
Note to moderator : Tags
Votes : ACCEPTED on 06/01/2021 by Lo55o (12352)
 ACCEPTED on 10/01/2021 by bob (9090)
Editted on 25/07/2022 by 
Lo55o (12352)Show Version
Notes :The French edition of Vogue magazine, Vogue Paris, is a fashion magazine that has been published since 1920. The French edition of Vogue was first issued on 15 June 1920. Michel de Brunhoff was the magazine's editor-in-chief from 1929 until 1954. Edmonde Charles-Roux, who had previously worked at Elle and France-Soir, became the magazine’s editor-in-chief in 1954. 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. She left Vogue in 1966, as the result of a conflict for wanting to place a black woman on the cover of the magazine. When later asked about her departure, Charles-Roux refused to confirm or deny this account. 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 1 June 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. 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. By April 2002, she had rid the magazine of foreign staffers, making it "all French for the first time in many years". The magazine also underwent a redesign by the Paris-based design firm M/M. It aimed to make the title appear more hand-crafted and organic, particularly through the use of collage and hand-drawn fonts. Continuity was created through the use of loose theming for each issue, smooth pacing, and visual uniformity in the shopping pages. 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 Restoin Roitfeld. 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. On 17 December 2010, Carine announced her departure from Vogue Paris effective 31 January 2011. On 7 January 2011, it was announced that Emmanuelle Alt, who had been the magazine fashion director for the last 10 years, would become the new editor-in-chief effective February 1st.The French edition of Vogue magazine, Vogue Paris, is a fashion magazine that has been published since 1920. The French edition of Vogue was first issued on 15 June 1920. Michel de Brunhoff was the magazine's editor-in-chief from 1929 until 1954. Edmonde Charles-Roux, who had previously worked at Elle and France-Soir, became the magazine’s editor-in-chief in 1954. 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. She left Vogue in 1966, as the result of a conflict for wanting to place a black woman on the cover of the magazine. When later asked about her departure, Charles-Roux refused to confirm or deny this account. 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 1 June 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. 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. By April 2002, she had rid the magazine of foreign staffers, making it "all French for the first time in many years". The magazine also underwent a redesign by the Paris-based design firm M/M. It aimed to make the title appear more hand-crafted and organic, particularly through the use of collage and hand-drawn fonts. Continuity was created through the use of loose theming for each issue, smooth pacing, and visual uniformity in the shopping pages. 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 Restoin Roitfeld. 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. On 17 December 2010, Carine announced her departure from Vogue Paris effective 31 January 2011. On 7 January 2011, it was announced that Emmanuelle Alt, who had been the magazine fashion director for the last 10 years, would become the new editor-in-chief effective February 1st. Emmanuelle Alt has been dismissed as editor-in-chief of Vogue Paris in 2021. The firing is part of a giant overhaul of the glossy magazine publishing empire, which has seen Anna Wintour, Editor-in-Chief of American Vogue acquire even more power. In December 2021, Wintour was named Global Editorial Director of the magazine group, granting her control of scores of international editions. No new Editor in Chief was appointed since, but Eugénie Trochu was named Head Of Editorial Content.  
Source : https://uk.fashionnetwork.com/news/Emmanuelle-alt-out-at-vogue-paris-as-heads-roll-at-conde-nast,1303683.html (uk.fashionnetwork.com/news/Emmanuelle-alt-out-at-vogue-paris-as-heads-roll-at-conde-nast,1303683.html) 
Credits (Main Page) : Head Of Editorial Content : Eugénie Trochu2021 - 
Editor In Chief : Emmanuelle Alt2011 -Editor In Chief : Emmanuelle Alt2011 - 2021 
Note to moderator : exit alt
Votes : ACCEPTED on 25/07/2022 by Lo55o (12352)
 ACCEPTED on 21/08/2022 by bob (9090)
Editted on 16/11/2022 by 
Nathalie (5019)Show Version
Binding type :   
NameVogue ParisVogue Paris / Vogue France 
Notes :The French edition of Vogue magazine, Vogue Paris, is a fashion magazine that has been published since 1920. The French edition of Vogue was first issued on 15 June 1920. Michel de Brunhoff was the magazine's editor-in-chief from 1929 until 1954. Edmonde Charles-Roux, who had previously worked at Elle and France-Soir, became the magazine’s editor-in-chief in 1954. 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. She left Vogue in 1966, as the result of a conflict for wanting to place a black woman on the cover of the magazine. When later asked about her departure, Charles-Roux refused to confirm or deny this account. 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 1 June 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. 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. By April 2002, she had rid the magazine of foreign staffers, making it "all French for the first time in many years". The magazine also underwent a redesign by the Paris-based design firm M/M. It aimed to make the title appear more hand-crafted and organic, particularly through the use of collage and hand-drawn fonts. Continuity was created through the use of loose theming for each issue, smooth pacing, and visual uniformity in the shopping pages. 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 Restoin Roitfeld. 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. On 17 December 2010, Carine announced her departure from Vogue Paris effective 31 January 2011. On 7 January 2011, it was announced that Emmanuelle Alt, who had been the magazine fashion director for the last 10 years, would become the new editor-in-chief effective February 1st. Emmanuelle Alt has been dismissed as editor-in-chief of Vogue Paris in 2021. The firing is part of a giant overhaul of the glossy magazine publishing empire, which has seen Anna Wintour, Editor-in-Chief of American Vogue acquire even more power. In December 2021, Wintour was named Global Editorial Director of the magazine group, granting her control of scores of international editions. No new Editor in Chief was appointed since, but Eugénie Trochu was named Head Of Editorial Content.The French edition of Vogue magazine, Vogue Paris, is a fashion magazine that has been published since 1920. It was renamed to Vogue France in November 2021. The French edition of Vogue was first issued on 15 June 1920. Michel de Brunhoff was the magazine's editor-in-chief from 1929 until 1954. Edmonde Charles-Roux, who had previously worked at Elle and France-Soir, became the magazine’s editor-in-chief in 1954. 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. She left Vogue in 1966, as the result of a conflict for wanting to place a black woman on the cover of the magazine. When later asked about her departure, Charles-Roux refused to confirm or deny this account. 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 1 June 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. 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. By April 2002, she had rid the magazine of foreign staffers, making it "all French for the first time in many years". The magazine also underwent a redesign by the Paris-based design firm M/M. It aimed to make the title appear more hand-crafted and organic, particularly through the use of collage and hand-drawn fonts. Continuity was created through the use of loose theming for each issue, smooth pacing, and visual uniformity in the shopping pages. 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 Restoin Roitfeld. 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. On 17 December 2010, Carine announced her departure from Vogue Paris effective 31 January 2011. On 7 January 2011, it was announced that Emmanuelle Alt, who had been the magazine fashion director for the last 10 years, would become the new editor-in-chief effective February 1st. Emmanuelle Alt has been dismissed as editor-in-chief of Vogue Paris in 2021. The firing is part of a giant overhaul of the glossy magazine publishing empire, which has seen Anna Wintour, Editor-in-Chief of American Vogue acquire even more power. In December 2021, Wintour was named Global Editorial Director of the magazine group, granting her control of scores of international editions. No new Editor in Chief was appointed since, but Eugénie Trochu was named Head Of Editorial Content. In November 2021 the magazine was renamed to Vogue France.  
Note to moderator : Vogue France
Votes : ACCEPTED on 16/11/2022 by Nathalie (5019)
 ACCEPTED on 28/11/2022 by Lo55o (12352)
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