New Yorker Headed to iPad… Lagerfeld’s Liberation…

The New Yorker will partner with Adobe to create a version of the magazine for the iPad.

REMNICK TO TAKE WIRED ROAD: Hope David Remnick has a good friend in Silicon Valley with a spare room. WWD has learned The New Yorker will partner with Adobe to create a version of the magazine for the iPad, making it the second Condé Nast title — after Wired, which unveiled its trailblazing effort May 26 — to eschew the internal-development track and work with the San Jose, Calif.-based software firm on its full app. This is something of a coup for editor Remnick and the text-heavy weekly, which, according to insiders, had been in line to produce its app with Condé Nast Digital, the Sarah Chubb-led division responsible for the GQ and Vanity Fair iPad editions released earlier this year. But that was pre-Wired. Indeed, in the days following Wired’s glittery debut (the app clocked 24,000 downloads in the first 24 hours and upward of 90,000 to date), sources say Remnick and other Condé Nast players — who, prior to the launch, didn’t know much about the Adobe path — started lobbying to get on the Adobe train. Aside from the lure of revenue and a more flashy product, they saw an opportunity to have greater control in the creation of their apps: For the Wired version, editors worked side by side with Adobe staffers (it obviously helped they were both based in the San Francisco area and spoke the same techy tongue). The Condé Nast Digital track, on the other hand, is much less interactive. “You turn everything over, and they roll you into this kit,” said one source of the Digital process. “Editors want to be in control of their product making.”

A spokeswoman for The New Yorker confirmed the magazine is set to work with Adobe on its app but declined to comment further. Glamour, meanwhile, is sticking with Condé Nast Digital and will make its debut on the iPad with its September issue. As for how Digital feels about it all, a Condé Nast spokeswoman offered: “We wanted to broaden the R&D learning, and by moving The New Yorker to the Adobe platform, we will have three titles on the Condé Nast Digital track and two on the Adobe track. We are pleased to have multiple options to call upon and learn from.” — Nick Axelrod

This story first appeared in the June 22, 2010 issue of WWD.  Subscribe Today.

LAW OF THE JUNGLE: Famed fine art photographer Nick Brandt, who specializes in African wildlife, filed a copyright infringement lawsuit against Zara USA and its parent, Industria de Diseño Textil, also known as Inditex, and Zara International Inc. on Friday in Manhattan federal court. Brandt, whose individual photographs sell from $10,000 to upward of $65,000 a print, alleged the defendants used two photos — “Lioness Looking Over Plains” and “Elephants Walking Through Grass” — without authorization. The images appeared in product sold at Zara around the world, including a line of casual dresses for $39.90. Brandt alleged the retailer’s use of the unauthorized works has the effect of “undercutting the value of the images” in the fine art market. He is seeking an accounting of profits and a permanent injunction barring the defendants from future use of the images. Viviana Chaves, president of Zara USA, did not return an e-mail request for comment by press time. — Vicki M. Young

LAGERFELD’S LIBERATION: Even Karl Lagerfeld has been bitten by World Cup fever. In today’s edition of Libération newspaper, which he guest edited, Lagerfeld chose to illustrate a piece on the scandal-wracked French national soccer team with a drawing of banned French soccer player Nicolas Anelka sporting hollowed-out World Cup soccer ball motifs on his head. Lagerfeld’s hand-scrawled, cheeky slogan reads: “In the long run, soccer empties the head.”

Other items that made the cut in the French daily include a piece on former French presidential candidate Ségolène Royal campaigning in France’s Poitou-Charentes region, as well as one on Barack Obama and the black tide. Never a person to do things by halves, Lagerfeld, who spent the entire day Monday in editorial meetings at Libération’s Paris headquarters, opted to illustrate the entire paper, which, at 14 by 22 inches, is double its usual size and features no photographs. Lagerfeld also redesigned the Libération logo for the 24-page issue, which features his self-portrait on the cover.

An avowed newspaper nut, Lagerfeld in an interview shared his aversion to the idea of using “electronic objects” for reading the news. “Quelle horreur,” he exclaims in the story, adding nothing beats good, old-fashioned paper and ink. “The world could collapse and I would still keep reading the papers,” said the designer, who early each morning reads the news in English, French and German.

“Naturally, each language throws a different light on the world,” said Lagerfeld, who also reveals his fetish tools for sketching.

“I use Shu Uemura makeup for drawing, as they have the most beautiful color palette. Did you know that in the old days, children’s books were illustrated using makeup sticks?” asked the designer, who went on to lambast the press for being too self-righteously politically correct. — Katya Foreman


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