HERMIONE

EMMA

AMELIA

The name of the Cond Nast Group derives from its American
founder, Cond Montrose Nast who bought Vogue in 1909. To
this day, Vogue remains a renound American publication
which had been in strong existence since 1892. Nast
transformed it from a 24-page weekly into a monthly
magazine, and this formed the nucleus of the American
company.
By the early 1990s, the company was publishing more than 30
titles in Western Europe, in Britain, France, Italy, Germany
and Spain, plus editions in Australia, and was recognized as
the leading international publisher of upmarket magazines in
the world. The decades from the mid-nineties to the present
day have seen accelerated growth for Cond Nast as the
company entered Japan, China, Russia, India, Mexico and
numerous new markets in Asia and Eastern Europe.
For almost a century, Cond Nast has been a magnet for the
world's leading Editors, photographers and Creative
Directors. The Cond Nast archive serves as a measure of
social and cultural change shaping the twentieth century. The
years between the World Wars saw some of the great artists
of the era commissioned from Dali to Brard. Contributors and
writers for Cond Nast titles have ranged from J. D. Salinger,
Truman Capote, Iris Murdoch and Salman Rushdie. Cond
Nasts reputation is rooted in creating excellent, exciting
content that is engaging, visually arresting and often
groundbreaking, and which is now available to an ever wider
audience across multiple media channels.
Conde Nast owns numerous influential Titles including Vogue,
Glamour, GQ, Conde Nast Traveller, Tatler, House and
Garden, Brides, GQ Style, Vanity Fair, Wired and the World of
Interiors. Due to the vast genres and types of product Conde
Nast offers to the public, it has a huge amount of very different
and specific target demographics that it reaches through
various titles.

A specific example of the particular demographic that

Conde Nast targets through, Conde Nast Traveller, For
example is the psychographic group of Explorers. The
Conde Nast Traveller magazine contains information on exotic
and exciting adventures and getaways. This appeals to the
group of explorers in that they look for traits such as,
experience, challenge and new frontiers, and this is exactly
what comes from magazines that focus on traveling and
oppurtunities. In addition, the destinations noted in the product
act as aspirations or the readers and encourage Maslows
Need of self-esteem and motivation.
Secondly, Vogue, for example, is aimed at a high-class
fashion-forward group. This demographic is most likely
orientated around the Aspirer or the Succeeder on he
Psychographic Scale. These two classes on the scale
predominately include citizens of extreme financial success
and the leaders of luxurious lifestyles.
The traits of this demographic are that they are confident,
focused, materialistic, appearance orientated and acquisitive.
This fits in with the Vogue franchise due to its focus on highfashion labels such as Prada and Versace that cost a lot of
money and are only really available to people with huge
incomes tat can afford these labels. Within this luxurious
world, labels are highly respected and make up a lot of a
persons self-worth and reputation. Having said this,
mainstreamers can also find escapism within the glamorous
lifestyles and products flaunted throughout.
To mantain the sucess of the companys arguably most
influential title, Vogue it is vital that Conde Nast uses new
technologies to appeal to their huge demographics and
develop their brand. The way in which they go about keeping
up by the use of new technologies is through digitalizing
'Vogue' by creating a YouTube channel for it. Vogue's
YouTube channel has over 400,000 subscribers and has
millions of views. The innovative use of YouTube has boosted
Conde Nast's accessibility as anyone can come across it

online. It also correlates with the up rise of technology whilst

allowing comments and shares to make it a more interactive
text that can be circulated around the web.
There are some changes that Conde Nast is undergoing as it
grows and changes. Some of these include Grace Coddington
to step down as Creative Editor of American Vogue. Many
have interpreted the change in leadership as a watershed
movement for fashion publishing, marking a shift away from
the classic, baroque photo shoots Coddington is famous for
and towards a more commercially minded digital future.
Furthermore, Wolfgang Blue, the Guardians director of digital
strategy, is joining Vogue and Vanity Fair publisher Cond
Nast International as chief digital officer. Blue, who has
worked at the Guardian since 2013 and serves on the
executive committee, will take up the new role on 1
December. Blue will take on responsibility for digital activities
across Cond Nast Internationals portfolio of magazines,
which include GQ and Wired, as well as joining the publishers
executive committee.
Chairman Charles Townsend has said that he hopes Blue will
bring a innovative energy and comtempary expertise to the
role whilst ensuring the companies future remains relevant
and modern. It is hard to tell what the future holds for Conde
Nast, but inevitably, its influencial name will always hold a
place at the pinnacle of publishing.