Toiletpaper is one of the best examples of how a niche magazine done right can become a mass phenomenon. This photography-only publication was born in 2010 from a collaboration between artist );…
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“The Wrights preached practicality over the ‘total absurdity of the Old Dream,’ and no place was riper for implementing their vision than ‘The Vanishing Dining Room.’ Conceding that, to ‘a reader accustomed to a room devoted only to dining, with fixed and formal furniture, we may seem to have done frightening and unstabilizing things,’ the Wrights’ iconoclastic solutions included placing the dining table on lockable casters, so that it could be rolled next to the sink for clearing after the meal; using disposable paper plates and cups to eliminate part of the dishwashing chores, upholstering chairs in plasticized materials, and streamlining meals to limit the number of dishes and utensils needed—no more soup to open dinner, followed by salad, a garnished roast, and dessert; the one-dish, freezer-to-oven-to-table-casserole was king. Some of these suggestions have stood the test of time. Others have been dropped or modified to marry convenience with convention and aesthetics, although the rolling dining table, however intelligent, will always evoke images of Marx Brothers mishaps.”
-Culinary historian Cathy Kaufman on Russel and Mary Wright‘s 1950 Guide to Easier Living in “The Vanishing Dining Room,” an article that appears in the latest issue of Vintage Magazine
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As those charming French robots have been reminding us lately, “We’ve come too far to give up who we are / So let’s raise the bar and our cups to the stars”—and our professional sights to the most shopping-obsessed corner of Planet Conde Nast. That would be Lucky, where newly installed editor-in-chief and “nail art” aficionado Eva Chen is all about a $250 holographic leather baseball cap for fall.
Whether you’re up all night to get some or just for good fun, the hunt is on for an art and photo intern who gets Lucky. The magazine about shopping is in the market for “a junior or senior at a U.S. college or university majoring in graphic design, photography, or studio art, with an interest in multimedia, fashion, current editorial and historical photography, and with strong communication and interpersonal skills.”
Learn more about this art and photo intern, Lucky job or view all of the current Mediabistro design, art, and photo jobs.
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![[wherever] Magazine](https://i0.wp.com/assets.coolhunting.com/coolhunting/2013/08/full_width_wherever-thumb.jpg)
Taking a different approach from destination-heavy travel publications like Suitcase Magazine or Wallpaper* City Guides, newcomer [wherever] gets more literary; choosing to gather personal essays on experiences, cultures and politics, loosely tied together by the…
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The new issue of Vintage Magazine, with linoleum-inspired covers by Chip Kidd. Below, editor-in-chief Ivy Baer Sherman in a photo by Victoria Jackson.
Technically, Vintage Magazine is—you guessed it—a magazine, but the term fails to convey the visual and tactile pleasures contained within its covers, which for the fourth (“Quatrième”) issue are a multi-flap affair designed to evoke the look and feel of vintage linoleum. Inside is a cabinet of curiosities worth of architecture- and design-focused features that range from musings on the enduring legacy of Elsie de Wolfe to a glimpse inside the New York townhouse of Robert and Cortney Novogratz—in the form of a DIY pop-up created by paper engineer Shawn Sheehy. The woman behind this biannual celebration of design, culture, and the creative possibilities of print is Vintage‘s founding editor-in-chief and publisher Ivy Baer Sherman and as we pored over the new issue, she told us about the origins of Vintage, the challenges of producing each issue, and the importance of living with flair (and Flair).
What led you to create Vintage Magazine?
Several years ago I was introduced to Fleur Cowles’ Flair at a 2003 retrospective of the magazine, “Fleur on Flair,” at the Pratt Manhattan Gallery. I was struck, at first glance, by Flair’s beauty…and promptly judged the magazine, as we are taught to never ever do, by its exquisite cover. The distinguishing feature of a Flair cover was a die cut—which offered an artful glimpse onto the world within. Turning the cover revealed further delights—foldouts and fabulous illustrations—by Saul Steinberg, by fashion designer Rene Gruau; riveting writing—Salvador Dali on his search for a gypsy angel, Tallulah Bankhead on Louis Armstrong; short stories by Tennessee Williams. I left the show acutely attuned to the extraordinary physical draw of a magazine: the lure of stunning design, the striking sensation of ink on paper, the ravishing commingling of keenly-wrought words and fine art and editorial flair, the tactile quality of the read. I knew then and there that I wanted to create a magazine in the spirit of Flair for today’s audience. Voilà, Vintage Magazine.
How do you describe the editorial mission/philosophy?
Vintage Magazine aims to bring aspects of the past to the fore through a celebration of design and the creative possibilities of print—writers and artists are invited to survey the historical impact of art, music, fashion, food, and travel on today’s culture. With naysayers focusing on the demise of print these days, what better time to take the art of the magazine to new heights; to create a truly vintage publication, if you will—one that informs, inspires, surprises and delights.
Tell us about the amazing cover of the Quatrième issue and how it came to be.
What an honor to work with Chip Kidd—legendary graphic artist/cover designer. I wanted to do a Vintage version of an architecture and design issue. I talked this over with Chip at our first meeting, my only stipulation being that his cover design allow for the magazine’s signature open spine. Chip said that that he’d wanted to try something multi-layered and suggested the resulting homage to vintage linoleum.
Each layer of the cover reveals another pattern of linoleum—the construction is reminiscent of those sample rings of clacking linoleum chips that one finds in flooring showrooms; the paper stock has been selected to evoke a linoleum feel. The printer and binder worked to ensure that the integrity of the cover design would be maintained without compromising the magazine’s structural stability.
continued…
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Wary that his newest project would be consumed for being buzz-worthy rather than genuinely good, French-born photographer and founder and editor-in-chief of Desillusion Magazine, Sebastin Zanella found a name for…
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London-based graphic designer and founder of magCulture, an editorial design consultancy and an equally-informative magazine design blog, Jeremy Leslie is channeling 25 years of experience into his newest book, “…
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The third issue of the chunky dreamtome that is CR Fashion Book is hot off the presses (literally) just in time to relive its gestation and triumphant launch in a new documentary directed by Fabien Constant. Opening in select cities on September 11, Mademoiselle C follows Carine Roitfeld as she bids adieu to her decade-long post as editor of French Vogue. Will New York media embrace La Roitfeld? Will the designers and advertisers follow once she has, in her words, surrendered “the crown” of French Vogue? How will she adapt to life as a grandmother?
“Fabien brought up the idea of the project when I was launching my new magazine. I had just left Vogue was starting everything over. I found that period interesting,” says Roitfeld. “I said ‘yes’ instinctively, without really thinking about what it meant.” Having worked with Constant before (“I like his sense of humor and the fact that he doesn’t look at people who work in fashion with a critical eye. He doesn’t judge us”), she was comfortable with his presence (“he just blended into the scenery”), but old editorial and styling habits die hard. “Pictures can be Photoshopped. It’s harder to do with movies,” explains Roitfeld. “I’m so used to controlling everything, the hardest part was being shot from a less-than-flattering angle.” And her favorite moment captured on film? “When I’m singing in Russian,” she says. “I’m quite proud of that. I think that I’m singing pretty well and it’s one of the lighter moments in the movie.” Voici le trailer:
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The September issues are beginning to roll in, and Wallpaper* is celebrating the month that Candy Pratts Price describes as “the January in fashion” with a top-to-bottom redesign across its print and digital platforms. The layouts have “a new, fresh, sophisticated, modern elegance” according to editor-in-chief Tony Chambers, and the pages, now printed on higher-quality stock, are sprinkled with custom typefaces (type families “Portrait” and “Darby,” pictured above and designed by Berton Hasebe and Dan Milne, respectively) from Paul Barnes and Christian Schwartz of Commercial Type. The magazine also has a new tagline–”The stuff that refines you”–and an overhauled iPad edition, reimagined by Nicolas Roope of Poke London and Marc Kremers, which ensures that the September features, on topics such as “the fashion world’s top ten go-to architects” (we’re looking at you, Pedro), the bags-to-riches story of Loewe, and Paul Smith, look just as vibrant on the screen as on the page.
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It’s been sixty years since Harold L. Humes, Peter Matthiessen, and George Plimpton founded The Paris Review, and the storied literary magazine is celebrating the big soixante with a fresh take on beach reading: smashing swim trunks that feature cover art from issues past. Created in collaboration with Barneys New York and Orlebar Brown, the quick-drying trunks are awash in the work of (pictured clockwise from top left) William Pène du Bois, Donald Sultan, Kim MacConnel, and Leanne Shapton. Each pair—limited edition, bien sûr—comes tucked in a Paris Review-branded, waterproof drawstring bag and includes a one-year subscription.
New Career Opportunities Daily: The best jobs in media.
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