{"id":5217,"date":"2014-07-03T11:50:02","date_gmt":"2014-07-03T11:50:02","guid":{"rendered":"http:\/\/bookoxygen.com\/?p=5217"},"modified":"2014-07-07T11:40:52","modified_gmt":"2014-07-07T11:40:52","slug":"the-vogue-factor-by-kirstie-clements","status":"publish","type":"post","link":"http:\/\/bookoxygen.com\/?p=5217","title":{"rendered":"The Vogue Factor by Kirstie Clements"},"content":{"rendered":"<p><strong><a href=\"http:\/\/bookoxygen.com\/wp-content\/uploads\/2014\/07\/Vogue-Factor-pb.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-5262\" title=\"Vogue Factor pb\" src=\"http:\/\/bookoxygen.com\/wp-content\/uploads\/2014\/07\/Vogue-Factor-pb-190x300.jpg\" alt=\"\" width=\"190\" height=\"300\" srcset=\"http:\/\/bookoxygen.com\/wp-content\/uploads\/2014\/07\/Vogue-Factor-pb-190x300.jpg 190w, http:\/\/bookoxygen.com\/wp-content\/uploads\/2014\/07\/Vogue-Factor-pb-650x1024.jpg 650w, http:\/\/bookoxygen.com\/wp-content\/uploads\/2014\/07\/Vogue-Factor-pb.jpg 1485w\" sizes=\"auto, (max-width: 190px) 100vw, 190px\" \/><\/a>Published by Faber 4 July 2014 UK, Chronicle Books US<\/strong><\/p>\n<p><strong>240pp, paperback, \u00a38.99<\/strong><\/p>\n<p><strong>Reviewed by Jessica Mann<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>For a little over a quarter of the century, Kirstie Clements worked for Australian <em>Vogue<\/em>. Aged 23, she answered an advertisement for a receptionist at the magazine and having talked her way into that job made herself so useful doing other people&#8217;s tasks such as tidying the fashion stockroom, reorganizing the drawers containing stockings and socks, packing suitcases and typing, that she was promoted. First an assistant, she worked her way up the hierarchy, eventually, in 1999, becoming editor of <em>Vogue<\/em> Australia.<\/p>\n<p>Like every other national <em>Vogue<\/em>, this is a quite independent magazine, commissioning its own material and connected only by ownership to other <em>Vogues<\/em>. The pecking order is clear, and is dependent on circulation: the American magazine is clearly the most important, while the Australian version, with far fewer readers comes near the bottom of that heap. Never mind: no such considerations held Kirstie Clements back.<\/p>\n<p>Clearly a hero worshipper by nature, she writes with almost childlike reverence about the excitement of photography sessions with, for example, the Crown Princess of Denmark, formerly the Australian Mary Donaldson, or Karl Lagerfeld or Giorgio Armani. Famous names appear on nearly every page, Hollywood celebrities who in Kirstie\u2019s experience are \u00a0mostly greedy and grasping, and Australian celebrities, \u2018who were always a pleasure to deal with, understood our budget constraints, and were fully prepared to take the fashion journey with <em>Vogue<\/em>.\u2019\u00a0\u00a0 Clements never grew out of a naive enthusiasm for \u2018all the wondrous events I was invited to be a part of\u2019 &#8211; and some of them sound as sybaritic as a Roman emperor&#8217;s orgy &#8211; but she can be quite acid about some people: social climbers, poseurs and those on a quest for personal glory, but also some of her colleagues, in particular the icy Anna Wintour. \u2018There appears to exist some kind of psychological condition that causes seemingly sane and successful adults to prostrate themselves in her presence.\u2019<\/p>\n<p>It&#8217;s interesting for a magazine reader to be told what it looks like from the other side of the printing press. The repetitive pages of advertisements\u00a0 and unlikely garments worn by a \u00a0succession of starvation victims (some models make themselves feel full by eating tissues which swell up and fill the stomach)\u00a0 would not be paying or earning their huge fees but for the magazine&#8217;s \u2018culture\u2019. The thickness of the stationery, the flowers at reception, the handwritten thank you notes, the corporate Christmas cards are \u2018all part of the brand&#8217;s DNA\u2019 which justifies the premium rate charged for an ad page. And everybody involved in this business has their own self-conscious \u2018brand DNA, often theatrical and designed to shock. One designer for example began his fashion show by sending hordes of rats down a clear Perspex runway.<\/p>\n<p>By 2009, when <em>Vogue<\/em> Australia was due to celebrate its 50th birthday, it struck Kirstie Clements that she was the only person there with more than twenty years of corporate or cultural memory. Within two years, as her predecessors had been, Kirstie Clements &#8211; along with almost the entire editorial team &#8211; was unceremoniously dumped.<\/p>\n<p>This short, readable memoir isn\u2019t written out of spite or\u00a0 to\u00a0 take revenge. Kirstie still loves magazines and especially <em>Vogue<\/em> Australia; \u2018I still believe in the magic,\u2019 she says.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Reviewed by Jessica Mann<\/p>\n<p>Clearly a hero worshipper by nature, she writes with almost childlike reverence about   the excitement of photography sessions with, for example, the Crown Princess of Denmark, formerly the Australian Mary Donaldson, or Karl Lagerfeld or Giorgio Armani. Famous names appear on nearly every page, Hollywood celebrities who in Kirstie\u2019s experience are  mostly greedy and grasping, and Australian celebrities, \u2018who were always a pleasure to deal with, understood our budget constraints, and were fully prepared to take the fashion journey with Vogue.\u2019   Clements never grew out of a naive enthusiasm for \u2018all the wondrous events I was invited to be a part of\u2019 [&#8230;] in Reviews<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,17],"tags":[],"class_list":["post-5217","post","type-post","status-publish","format-standard","hentry","category-new-fiction-and-non-fiction","category-reviews"],"_links":{"self":[{"href":"http:\/\/bookoxygen.com\/index.php?rest_route=\/wp\/v2\/posts\/5217","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/bookoxygen.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/bookoxygen.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/bookoxygen.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/bookoxygen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5217"}],"version-history":[{"count":7,"href":"http:\/\/bookoxygen.com\/index.php?rest_route=\/wp\/v2\/posts\/5217\/revisions"}],"predecessor-version":[{"id":5260,"href":"http:\/\/bookoxygen.com\/index.php?rest_route=\/wp\/v2\/posts\/5217\/revisions\/5260"}],"wp:attachment":[{"href":"http:\/\/bookoxygen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5217"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/bookoxygen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5217"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/bookoxygen.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}