Vogue Australia’s collectible April covers: Juergen Teller photographs Angelina Kendall in Paris

Vogue Australia

Edwina McCann on the Paris shoot, luxury brands loving print, and why the collectible covers are like “something that people might buy at a Taylor Swift concert.”

The April issue of Vogue Australia magazine offers newsstand readers the choice of three different collector covers, in a move that will see many buying multiple copies of the instant collectible.

The images on the three covers were taken by famed German fashion photographer Juergen Teller.

Juergen Teller, Angelina Kendall, and Paris

Edwina McCann, editorial director and publisher News Prestige and Conde Nast titles Australia, explained to Mediaweek that Teller shot the images at the Australian Embassy in Paris. His choice of camera was an iPhone and the covers feature Angelina Kendall.

McCann noted Teller often shoots on the iPhone, calling him “the most exhibited fashion photographer in the world.”

She added: “We had a great opportunity to shoot with Juergen and Vogue Australia editor-in-chief Christine Centenera was originally talking with him pre-Covid about potentially coming out to Australia. She has developed a great relationship with him.

“In his unique style, Juergen doesn’t retouch his images. He was interested in shooting at the Australian Embassy in Paris. That’s a location where we have been hosted during Fashion Weeks in Paris. It boasts one of the best views in Paris over the Eiffel Tower.

“It’s wonderful to be able to show off the Embassy in Paris. People can see how incredible it is ahead of the Olympics.

“Shooting Angelina Kendall, the hottest thing on international runways, has given the April edition another Australian hook. She’s a Sydney girl and getting her in that location was just perfect.”

Edwina McCann

This is the first time Teller has photographed for Vogue Australia. McCann noted he has worked for other international editions of the magazine. “He wanted to work with Angelina. That alone gives you an idea of how she is taking the modelling world by storm.

“She walked at a lot of fashion shows this season including Saint Laurent and Chanel. She is being very well managed and will have a very successful career.”

Creating a collectible

As McCann explained, all the ingredients were in place to create a magazine collectible. “We know that when you shoot with someone like Juergen, the edition becomes very collectible. For fans of both and also fashion photography it is a special item. He photographed Angelina in Dior, Fendi, and Chanel on the covers. All haute couture and in different situations.

“The different covers are available through newsagents and some subscribers will go to retailers to buy other covers.”

Newsstand remains important piece of business puzzle

McCann indicates over-the-counter sales remain important to magazine publishers.

“We recently reported phenomenal growth, about 30% up year-on-year,” said McCann. She was referring to Roy Morgan data for 2023 released earlier in 2024 that saw Vogue Australia magazine readership climb to just under 500,000.

“We are finding there is now a nostalgia for print. Many titles are making a comeback in print.”

See also: Gen Z becomes biggest reader demographic of Vogue Australia

McCann likened a collectible magazine to merchandise. “Something that people might buy at a Taylor Swift concert. Brands like Vogue have super fans. Keen followers of fashion who want to own their own piece of Vogue history. I noticed recently that a Billie Eilish cover of Vogue Australia was on eBay for $120. It was the first Vogue cover Billie Eilish had done.”

Digital audiences continue to grow for the brand across a range of social platforms and vogue.com.au. They contribute to a diversified revenue stream, partly via brand partnerships.

“We are doing more what we call Met Gala Partnerships. We worked with Mercedes Benz for example at the F1 in Melbourne recently. Co-creating and amplifying an extraordinary event that hosted their drivers Lewis Hamilton and George Russell. They connected with some of Mercedes Benz’s best customers but also friends of Vogue.

“We were also at the AACTAs working with Paco Rabanne. We can help ensure broad audiences engage with those events on numerous social media channels and digital channels.

“When we shoot a cover, we look at it as a special event. As though we are creating our own tentpole occasion.”

When looking at the magazine’s circulation financials, it is mixed evenly between newsagents, supermarkets, and subscribers in terms of revenue, explained McCann.

Luxury advertisers loving print

“The ad market for the print product has been relatively buoyant in luxury. That has something to do with a loyalty factor. Luxury clients do like to retain their positions in the book each month. They like the thick stock we can offer to really make their print execution stand out.

“Clients understand the magazine has a shelf life well beyond a day or maybe just a second when someone might scroll past an ad on socials. Luxury products operating in the Australian market all come into Vogue Australia. We are lucky in that we have benefited from the growth of the luxury sector across the country.

“Van Cleef & Arpels has opened in Perth and they are still expanding their footprint here. With that goes a healthy amount of marketing including Vogue Australia.”

The Vogue Australia March edition ran to around 250 pages with a busy front of the book with familiar brands like Chanel, Louis Vuitton, Dior, Cartier and more. “Many of the brands run multiple campaigns for different products like fragrances, leather goods, or sunglasses in addition to ready-to-wear and couture.”

Team Vogue Australia

Having the right people steering the brand has obviously paid dividends for Conde Nast in Australia. Published under licence by News Corp Australia, McCann and Centenera know their way around Vogue.

Centenera has been with the brand since 2012. She was appointed editor-in-chief just over 12 months ago, being promoted from fashion director of Vogue Australia.

“There has certainly been a refresh of the print product,” said McCann. “That has been led by Christine’s aesthetic. Her global influence and contacts certainly benefit the brand and keep Vogue Australia top of mind internationally.

“Often the talent we want to shoot will not be in Australia. The fact that Christine is based in London does help her to style covers. I have been working with Christine for 15 years.

“The business is now so much bigger than just the magazine. The day-to-day management is also shared between myself and Francesca Wallace driving our digital assets.”

McCann noted that Centenera’s schedule moves around depending on where her partner Joel Edgerton is currently working. “We totally understand that they have small children and they want to be together.”

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