ARTIST’S INTERPRETATION: Magazine editors often change the photo portrait that appears in their editor’s letters as often as they change their shirts. But how many have appeared as a Simpsons character? Glenda Bailey now has such bragging rights, appearing as a Simpsonized cartoon in her editor’s letter along with Marge Simpson in the front row of a fashion show. The August issue of Harper’s Bazaar features an eight-page feature by Simpsons illustrator Julius Preite where the fictional family goes to Paris with Linda Evangelista (also caricatured). The Simpsons appear with cartoon versions of Donatella Versace, Lanvin’s Alber Elbaz, Karl Lagerfeld, Jean Paul Gaultier and Marc Jacobs. Most editors scrutinize their photos to make sure they capture the fewest wrinkles or whitest smiles, so wasn’t Bailey, who wears a white Lanvin top in the photo, concerned that Preite’s animated treatment — especially that jaundiced tone particular to the residents of Springfield — would be unflattering? “There’s no bad side to being Simpsonized,” Bailey commented. Meanwhile, Marge Simpson would have blocked many a market editor’s view with her trademark sky-high blue hair. Surely a front-row gatekeeper would have relegated her to the back, right? “I sat next to Mike Tyson once, but I guess it wasn’t his hair that was big,” Bailey quipped. We assume she was talking about his muscles. — Stephanie D. Smith
LOSING FAITH: The cover of a magazine remains one of the few venues where celebrities are spared the warts and all coverage of the tabloid age. But upon launching in May, the Gawker media blog Jezebel promised $10,000 to anyone who could undermine that safety zone with the best example of a pre-retouched magazine cover photo. On Monday, the winning before-and-after photos were released from the July cover of Redbook. More than just smoothing Faith Hill‘s crow’s-feet, the photo also radically transforms the 39-year-old’s arm, shrinking its circumference and removing its elbow bend. The hand in her lap and drooping skin on her back also disappear.
This story first appeared in the July 17, 2007 issue of WWD. Subscribe Today.
E ditor in chief Stacy Morrison said, “The retouching we did on Faith Hill’s photo for the July cover of Redbook is completely in line with industry standards. We are investigating how the unretouched images got released.” (How far will that $10,000 stretch if the culprit is found?)
Jezebel editor Anna Holmes said that the site had received between five and 10 submissions, and that the Faith Hill shot had been chosen based on the fact that much of her body was both visible and radically altered. “Part of me was hoping for a Vogue cover,” Holmes admitted. Barring that, the contest “wasn’t about [Hill], it was about how magazines retouch women to make women look at times unrecognizable. The original photo — when I saw it I broke out into a big grin, not because I was having a gotcha moment, but because I said, ‘Here’s a woman who looks like a real woman.'” Holmes said the site was aware of the identity of the photo leaker but declined to discuss the “myriad” ways that Jezebel they had acquired the photos.
In response to a detailed e-mail request for comment, a spokesman for Hill responded, “Huh?” — Irin Carmon
ROLLING ON: Rolling Stone publisher Tim Castelli is leaving to join Google as New York sales director. The staff was notified on Monday by chief marketing officer Gary Armstrong. Castelli joined Rolling Stone last April. Previously, he was associate publisher of Maxim and worked at Ziff Davis Media for 13 years. Castelli’s last day is Wednesday. A replacement is expected to be announced shortly. — S.D.S.
NAOMI RUNS ON DUNKIN’: Naomi Campbell continues to cash in on her old antics. But this time around, she’s being paid for her bad behavior by Dunkin’ Donuts. Campbell, wearing a Giambattista Valli dress, stars in the company’s new multi-million-dollar ad campaign by trying to prove that “it’s not easy being an everyday, regular suburbanite,” by breaking her Prada stiletto as she tries to plant a tree. Poking fun at her old ways, she takes her frustration out by throwing the shoe into a nearby window and then hits the tree with a shovel. The 30-second commercial, created by Hill Holiday, was directed by actor Zach Braff. Frances Allen, brand marketing officer, said Dunkin’ Donuts created the campaign, in part, to celebrate regular people. Like Campbell.
The ad will run until the end of the year, but only in the New England region. — Amy Wicks
TAKE THREE: Is Bill Wackermann on a path to be the next Richard Beckman, or has he simply been bit more than a few times by the Hollywood bug? Reel Moments, Glamour’s three-year-old program spearheaded by vice president and publisher Wackermann, started as a reader contest designed to create buzz and, like most brand extensions, drive more ad pages to the magazine. The program invites readers to send in stories with the chance to have their tales adapted into short films directed by A-list actresses. In its third iteration, the franchise has not only become a significant one for Glamour, but the program is also looking to make a bigger splash in Tinsletown. Reel Moments will hand out a filmmaking grant to a budding director and host a symposium where alumni and notable women in the industry will meet to discuss issues affecting woman in Hollywood.
“For us, what’s resonating with Reel Moments and why it continues to grow is the core stems from empowering women. It feels genuine and it comes from real readers’ stories in the magazine,” said Wackermann. This year’s three films will be directed by Rita Wilson, Kirsten Dunst and Kate Hudson.
Reel Moments in its first year produced five films and roped in Elizabeth Arden, Nokia, Bebe and Mercury as sponsors. As a part of their involvement in the project, advertisers’ wares were incorporated, albeit subtly, into each film with varying themes. Last year, Glamour produced three films themed around love and signed on a sole sponsor, Cartier, which launched its Love bracelet with the program.
This year, Clinique Happy will be the sole sponsor of three films themed around happiness. “The program works great as single sponsorship because it resonates to have a single theme go through all of the stories,” said Wackermann. “A lot of product integration can feel forced to the consumer. The value of this program is about the artistic merit of these stories.”
And of course, the incremental dollars to Glamour’s bottom line.
Cartier, a new advertiser last year, banked 10 ad pages with the magazine as a part of a sponsorship deal for the program worth $1.8 million, as reported by The New York Times. This year’s partnership with Clinique is worth roughly the same; Clinique, which already advertised in Glamour, increased its schedule this year by 10 pages. Through September, ad pages for September totaled 1,443, up 13.5 percent from the same period last year. Glamour has earned 50 ad pages through the Reel Moments program since its inception.
For Clinique, Reel Moments helps promote a product on film that currently does most of its promotion through print. Scent strips in particular have worked well for the fragrance, said Catherine Frieder, Clinique’s executive director, global marketing, but the brand has generally used “print combined with other innovative things.”
For the starstruck advertisers, the program puts them closer to the Hollywood celebs appearing in the respective films. Besides having their name next to last year’s participants Jennifer Aniston and Bryce Dallas Howard, among others, the stars wore Cartier bracelets on the red carpet premiere.
The contest winner will be announced at the premiere of this year’s movies Oct. 7, and her film will debut at a Glamour symposium in Hollywood in February.
Since Reel Moments launched, both Elle and More magazine have followed suit with their own march into movies. This fall, Julia Stiles made her directorial debut when she produced a mobile for Elle adapted from a feature in the magazine. More’s Women in Film contest invites its 40-plus female target audience to submit their screenplays to win funding and meetings with top production executives, and a screening for their project. — S.D.S.