The Vogue Factor

by Kirstie Clements

In May 2012 Kirstie Clements was unceremoniously sacked after thirteen years in the editor�s chair at Vogue Australia. Here she tells the story behind the headlines, and takes us behind the scenes of a fast-changing industry.During a career at Vogue that spanned twenty-five years, Clements rubbed shoulders with Karl Lagerfeld, Kylie Minogue, Ian Thorpe, Crown Princess Mary, Cate Blanchett, and many more shining stars. From her humble beginnings growing up in the Sutherland Shire in Sydney to her brilliant career as a passionate and fierce custodian of the world�s most famous luxury magazine brand, Clements warmly invites us into her Vogue world, a universe that brims with dazzling celebrities, fabulous lunches, exotic locales and of course, outrageous fashion.Amidst the exhilaration and chaos of modern magazine publishing and the frenzied demands of her job, Clements is always steadfast in her dedication to quality. Above all, she is always Vogue.

Genres: Fashion, Nonfiction, Biography, Memoir, Biography Memoir, Autobiography, Art

240 pages, Paperback

First published February 26, 2013

About the author

Kirstie Clements is a best selling author, editor, journalist, consultant, and key-note speaker, with vast first hand experience in the luxury industry. Kirstie worked for Condé Nast International and Vogue for more than 25 years and was editor-in-chief of Vogue Australia for 13 years (1999-2012). She has written articles and columns for numerous publications, websites and newspapers and most recently, books.

Her first, In Vogue, 50 Years of Australian Style (co-authored with Lee Tulloch) was published in 2009 by Harper Collins. Since then she has released The Vogue Factor (MUP 2013) her memoir of nearly three decades in prestige fashion publishing, which achieved global press attention, culminating in an appearance on US talk show The View with Barbara Walters last May. She was also featured as the cover story on You Magazine in the UK’s Sunday Mail.

The Vogue Factor was released in the UK by Faber and Faber in July 2013, (with a reprint scheduled for July 2014) and the US edition launched in February 2014 (Chronicle). The book has also been released in Spain (Aguilar), Mexico, China and Poland and is now an international bestseller. She released her third book in November 2013, Tongue In Chic (Victory Books) a salacious and cheeky behind the scenes look at the world of fashion publishing. She has also co-written Fashion, The First Fifty Years from The Australian Women’s Weekly, which was released in May 2014 by the National Library Australia. She is now working on her next book, a work of non-fiction to be released by MUP in 2015.

Kirstie has also written for various publications and websites including Elle, International Traveller, Australian Traveller, The Australian Woman’s Weekly, The New Daily, Sunday Life and The Guardian and has made numerous appearances on television, including Today, Sunrise, The Daily Edition, Mornings and Studio Ten (guest panelist).

Kirstie lives in Sydney, Australia, is married to a Frenchman and has twin sons.

She is committee member for Grey Matters, which raises funds for brain cancer research and is an ambassador for Camp Quality.

Reviews

[Cass · Rating 2 out of 5]

I felt like I was reading a very long Oscar acceptance speech.

Despite being the editor of Vogue Australia for thirteen years, The author was remarkably humble. I like her for it. I enjoyed the little anecdotes about how difficult it was for the team to get seats at the fashion week shows (Vogue Australia being low in the pecking order of fashion magazines).

However most of the book was filled with comments about famous people she met and how awestruck she was. Every paragraph seems to mention another famous person with smatterings of anecdotes that were just not interesting enough to write a whole book about.

I was bored.

It wasn't until the book ended that I realised the book was little more then a goodbye speech to her vogue family.

..."and I would like to thank Naomi for her years of hardwork, dedication, and friendship. Remember the time we Robert Redford and I made a fool of myself... Those where the days"... Okay that isn't a direct quote but it sure captures what I felt read.

The book lacked a good story, it lacked real interest. The book was too much about who the author had met and what year she had gotten promoted and what cover had good sales and how the budget didn't cover an expense. Never enough detail to make it interesting. "I just want to thank the author, she knows who she is"...

[Susan Amper · Rating 2 out of 5]

This might be better titled Revenge on the Vogue Factor. Kirstie Clements, longtime editor of Vogue Australia was unceremoniously ousted from her position in 2012. This book is her revenge. What's missing is anything about Vogue. She worked her way up from receptionist to editor, yet this reader gets no sense of the inner workings of the magazine. How does one get produced? What choices are made? And why aren't there any pictures?

Clements does seem gaga over celebrities--She loves Cate Blanchett and has nothing kind to say about Nicole Kidman. She is over the moon about Karl Lagerfeld, and when she gets to interview the Princess of Denmark (former citizen of Australia) she acts as though she's died and gone to heaven.

She mentions having married a man in France and siring twins--and that's all we ever hear about them.

We don't get the inner workings of Vogue, or how the editor juggled motherhood and her job, or much of anything except rants about corporations not understanding that in firing her, they've doomed Australia to the dark ages of a magazine on the Internet.

[Kate Elizabeth · Rating 2 out of 5]

I thought this book would be a juicy tell-all, kind of like "The Devil Wears Prada" but without pseudonyms. Instead, it's a mostly boring recollection of Kirstie Clements' time at Vogue Australia that I found interestingly only because I work in print media. Clements is ridiculously tone-deaf and frequently unaware of the contributions she makes to the problematic world of fashion that takes itself painfully seriously. Some of my favorite quotes:

"There was some negative coverage regarding Alice being underweight, but I knew that - rightly or wrongly - even if she was, her protruding clavicles were just the ticket for the world of high fashion."

"Do it all in fact, so [the magazine] could cover every area: luxury AND mid-market and mass. Think how lucrative that would be! It's a theory I would hear over and over again from various newcomers (and, my special favorite, their wives who don't in fact read the magazine or own a nice handbag)."

"It's all very well dressing tiny babies up in beige Bonpoint cashmere for the first six months..."

"Many high-fashion labels are aghast at the idea of producing a size 10, and they certainly wouldn't want to see it displayed in the pages of the glossies. As a Vogue editor I was of the opinion that we didn't necessarily need to feature size 10-plus models in every issue. It is a fashion magazine; we are showcasing the clothes ... I see no problem with presenting a healthy, toned size 6."

And of course, my favorite:

"I worked with a model once who cried for an entire day because her cat had died. We had to keep redoing her makeup. I must admit I'm not a cat person, but by all accounts it had expired two days before. How long is one expected to put up with cat grief?"

I mean.

Clements also goes to great lengths to describe her favorite photo shoots from her time with the magazine and includes exactly zero photos of any of them. Given her departure from Vogue I understand logistically it probably would have been difficult to procure the rights to images, but describing a fashion spread in detail and not including an illustration is ineffective and distracting.

In sum, if you're not a journalism/media person, skip it.

[Dierregi · Rating 1 out of 5]

After having read a couple of depressing books about the imminent self-destruction of planet earth, due to human greed and stupidity, I was in need of some relief. I thought that whatever the problem was with Vogue, I could handle it easily.

Turns out, this book was also depressing, although in a different way. Vogue target readers are wealthy, carefree VIPs, interested in haute-couture and luxury. Unfortunately, due to the deterioration of our economy, the number of readers who can only dream about a Vogue life is on the rise. This book – like Vogue itself - is for the voyeur in us (unless you do are a VIP).

We get a glance from the keyhole into the life of the upper class, from somebody who was almost – but not quite – at the same level. Clements worked for Vogue Australia most of her life and was unceremoniously fired after 13 years as editor. The book starts with her brutal dismissal and I felt a pang of sympathy for her.

Then she moves swiftly to the beginning of her career as a Vogue receptionist and how she advanced in the fashion world. Strangely for somebody who worked as a journalist, her writing style is sloppy and unengaging. Clements mentions very superficially some aberrations of the fashion world such as the anorexic models; massive influence of big brands on whatever is published; lack of objectivity due to commercial purposes; excessive influence of bloggers, etc… However, her conclusion is that every unpleasant aspect of Vogue is just necessary evil.

We also get massive name-dropping, inevitable in books such as this, but none of the bitching that would have made for more entertaining reading. Towards the end, my sympathy for Clements had evaporated. She kept harping on about fashions shows, first class hotels, champagne lunches and travel around the world, simultaneously lamenting that Vogue Australia was the poor relative of the Vogue family.

Wrapping up, several considerations. The fashion industry is a cut-throat business, just like any other business. Expensive clothes are more than frivolous extravagance for the élite, the luxury market having a more global, corrosive influence. Most of what you read in Vogue (and similar publications) is just advertisement for designers, even when it looks like a legit article. Independent opinions ceased to exist with the advent of bloggers, whose main purpose is to push sales. It is ludicrous to think that the "public" consider bloggers more reliable than professional journalists.

Finally, my unrelated personal consideration is that Ms. Wintour must be a very dangerous, manipulative person for having survived so long in such a back-stabbing, merciless minefield of a working environment.

[Tara · Rating 1 out of 5]

Let's play a drinking game. Take a shot every time Kirstie Clements:

- name drops a famous fashion personality
- reminisces about the bygone era of fashion because it's all bloggers and instagram now
- flies a thousand miles for an all-expense paid 'conference' in some luxury european hotel
- comes across as bitter and patronising

I mean where is your personal story? I know nothing about the author except for the fact that she got married and had twins. Can you elaborate on how you became the editor of Vogue Australia..but skip on the networking part puh-leeze. You can't put together a bunch of revenge notes and call it a book!

[Lara Cain Gray · Rating 4 out of 5]

Kirstie Clements was unceremoniously dumped from iconic fashion magazine Vogue after 25 years’ service; 13 in the editor’s chair. She wasted no time in signing a book deal to have the last word on the incident, but this is no bitter autobiography. As she says in one of this book’s many quotable quotes “How you conduct yourself on the way out is more important than how you went in” – and The Vogue Factor shows Clement to be a perfectionist and consummate professional. This colourful memoir of a brilliant career has much to teach young players about the history of publishing in Australia, the frantic nature of the fashion industry and what it means to have focus and dedication to a brand and employer. Unfortunately it also left me squeamish and utterly conflicted about the tension between appreciating high end fashion as an art form and the sad social repercussions of the sheer excess that accompanies it.

Vogue has been incredibly influential as a brand – making and breaking the careers of models, photographers, stylists and their teams, not to mention setting the tone of global fashion with the mere shift of a colour scheme. Even if you don’t buy into the importance of designer fashion, some of Vogue’s innovative photography is gallery-worthy on its own, putting the paparazzi trash that now passes for photography to shame. The change in standards of fashion journalism, along with the print-to-pixel publishing progression, all form part of Clements’ dissection of her professional life, making this a must-read tome for anyone with an interest in the media.

Clements’ writing style is a pleasure to read; sparse and unsentimental. Stories of family and childhood are there to flesh out the human being behind the magazine, but the emphasis is firmly on Vogue. If you’re looking for name dropping, you won’t be disappointed as Clements has rubbed shoulders with the world’s glitterati. A lengthy walk behind the scenes on a photo shoot with Crown Princess Mary and Prince Frederik of Denmark is revealing; whilst Aussie fashion icons like Cate Blanchett and Nicole Kidman had very different interactions with Vogue on Clements’ watch.

Whilst I thoroughly enjoyed this book, the cynic in me simply couldn’t help hearing Eddie and Patsy in the background of this story: “Chanel, Dior, Lagerfeld, Givenchy, Gaultier, darling. Names, names, names!” To truly be swept up in Clements’ story, one has to buy into this world where names, labels and images matter above all else; and I’m afraid I’m not quite there. In no way do I wish to diminish Clements’ achievements as a business woman, but the price we pay for all this glamour, as described by Clements, left me cold. There’s the obvious body image conversation which is hard to avoid, but also the ostentatious and wasteful nature of the industry. Am I being a philistine to worry that you could feed the third world on what it costs to keep Karl Lagerfeld in private jets? But, says Clements, a negative attitude towards fashion “speaks volumes about a person’s self-esteem” - so clearly it’s me with the problem. I firmly believe that the world needs aesthetes as much as it needs doctors, and I do appreciate the skilled artistry involved in fashion design, but I can think of better things to spend my money on than million dollar handbags.

Clements comes across as utterly fatigued by questions about whether fashion magazines damage women’s self esteem. I take her point that magazines are not solely responsible – clearly it is a far more complex issue than that – but her flashes of defence and explanation are full of contradictions. The blame is partially laid with misogynist designers, who use skeletal ‘fit models’ (who spend half their lives being drip-fed in hospital – literally) as the dressmaker’s dummies for their seasonal designs. If the original masterpieces fit waif-like figures, then the catwalks, stores and fashion pages will only ever be sent teeny sizes to put on display – ergo, magazines have no choice. In the next breath however, Clements adds that “It cannot be denied that visually, clothes fall better on a slimmer frame…” And so, the models continue to eat tissues to help them feel full and collapse before the end of shooting, and women around the world continue to envy them. Clements obviously acknowledges the tragedy in this, but doubts much will change because “beautiful people improve life enormously”.

This is a captivating memoir by a formidable woman but it’s not without some troubling values.

[Arra · Rating 4 out of 5]

It has always been a dream of mine to work in the fashion industry, specifically on the events, styling, and of course, writing. As I saw this on Netgalley, I couldn't just pass up the chance and requested for it immediately. Luckily, I was approved! The book is screaming VOGUE. Well, of course it was! It is on the title but it was more than that. A girl would know exactly what it is all about the moment she heard that particular word. It was like programmed in our being as women to immediately know its meaning. Aside from Madonna's infamous song, Vogue is a fashion magazine that exudes luxury and class. It brings sartorial intelligence to another level making it one of the magazines on a pedestal. The word itself means archaic--the leading place in popularity or acceptance--making it the standard of every fashion magazine publishers out there. Hence, the story revolves to.

Reading the book was entertaining and at the same time, a learning experience. The blow by blow insider scoop of Kirstie Clements on how working in an excruciatingly delightful industry was not always grandeur and heaven as we outsiders think it is. But it was bittersweet in essence. The narration was full of wit and it was quite thrilling because you would envy the author for all the people she'd met, the places she had been to, and all the experience she was able to garner from the years of hard work at Vogue Australia. It made me appreciate magazines even more because not only was it printed in glossy pages with beautiful pictures on it, but it was also the result of the combined efforts of talented and creative people with stories to tell. It was not an easy task, believe me. After reading it, I felt that I have a lot of grains to eat before even venturing out to our local zines. It was quite true when she said that everyone has a say on things and would take her job anytime and whatever it takes because they want to. They think they can but not all of them can make it out alive. It was like Hunger Games in Prada and stilettos. That's how brutal the industry was and only those have balls can make it. Like Heidi Klum always say, " In fashion, one day you're in. The next day you're out. "

As I read the introduction, the first judgment about the book and the author might be that it is just a bitter way of redeeming herself after getting sacked. But it was the total opposite. Aside from Kirstie's journey in her career--from the suburbs to being the editor-at-large of a high fashion magazine--and personal life, it also tells us a tale of how Vogue Australia started, and about the people who created it and made it to what it is now. I would have expect her to talk mainly about herself and her contributions but I commend her for remaining humble, and still putting the honor and praises about Vogue to her mentors and colleagues. She wouldn't take credit for everything even if she can. Her success was also the success of Vogue Australia and all the people, past or present, behind it. I love how Clements values the magazine's backbone and would like to impart the history through this book for all of us to know, learn and experience as well. It was refreshing to know how it all began. She was so full of life, energy and dedication to only think of what's best for the magazine and its readers. And through all those years she served, Kirstie was able to deliver. My favorite parts were whenever she would describe her musings and as we call it today, fan-girling experiences because these prove that she was just normal and also a mortal like us, too, despite the job description. Admit it, we always associate fashion editors with Miranda Priestly of The Devil Wears Prada. My favorite chapter was A Princess Diary wherein she was able to be a witness of a magical event that every girl dreams to be in. Well, I do. Oh how lucky of her.

I also admire the author on how she handled that crucial turning point in her career--when she got fired. Typical person would not take this lightly and accept defeat after investing his/her life greatly in his/her work. He/she might blatantly demand for an explanation and get bitter towards the end. But Kirstie walked towards the exit with class and accepted the change it symbolizes on both Vogue Australia and with her life.

I recommend this to all those who are in the industry or having plans to work in it and to all those who just love fashion as much as I do.

[Kate · Rating 3 out of 5]

This was an easy read. I really enjoy behind the scenes books so this was exactly what I was looking for!
Before I read books, I used to devour magazines and Vogue was one of them. Funnily enough, reading this has reignited my want to read magazines again, so I bought myself a copy of Vogue yesterday!

[Fiona Taylor-davis · Rating 4 out of 5]

Fascinating insight into the world of magazine publishing. I loved Vogue Aus under Kirstie Clements, still deciding if I like the title under the new editor.

Clements comes across as an inspiring and strong woman, yet relate-able. Seems like the sort of woman who would be a great boss and mentor. Her personal anecdotes are entertaining and her insights are sharp and intelligent.

I hope she continues writing as a fashion commentator and author.

[Susan Marie Martin · Rating 4 out of 5]

Inside scoop into the terrifying yet glamorous world of fashion. I was so invested in this book for the mere reason that it was very VOGUE-chic. I expected more drama, but still it was compelling and gripping.

It's very different from your typical memoir, since it didn't feel like it was about the author's life, instead, more like a collection of witty and fabulous annecdotes with her experiences from working in Vogue. I personally enjoyed it's informal-ness and casual conversational moments, although I understand it is not a book for everyone's liking.

"I mean, it's a fashion magazine full of shoes and bags. But the brand values of Vogue represent manners, respect and integrity, and so the backlash was fierce." I came to the realization that the reason why i'm so drawn to this topic is because by working in this industry you are expected to be fashionable and glamorous, yes, but also understanding and strong-willed. It is not an easy enviornment at all. There are a lot of speculations and claims about what happens inside fashion inclined workplaces and everything is mostly false and rumors. It is crucial to remember that the fashion industry doesn't necesarilly revolve around shallow tones and vanity-obsessed rich extravagant people, but around social values and ethics.
S

[Alex · Rating 3 out of 5]

Uważam, że jest to książka po prostu średnia. Autorka bardzo ciekawie opowiada o swojej pracy. Czuć, że ma wielką pasję i naprawdę kocha modę. Jednak sama lektura jest typowym średniakiem, który nie zafascynował mnie.

[Crimelpoint · Rating 2 out of 5]

Niektóre rozdzaiły były naprawdę interesujące, inne raczej nudnawe. Dlatego oceniam tę książkę tak pół na pół.

[Cassie Robinson · Rating 4 out of 5]

This was a surprisingly good read. Kirstie Clements is witty and open throughout the entire book and very likeable. It definitely reads as an ode to the 'good old days of publishing', but for someone who has always been a fan of magazines in general, I found her insight into the industry fascinating.

[Suzy Wilson · Rating 1 out of 5]

I received an ARC from Melbourne University Press, via NetGalley, in return for an honest review.


For someone who was a longtime editor of Vogue, Ms Clements seems to have forgotten the first rule of editing - er, to edit.

This book was less a chronology of a woman's rise from the reception desk to the role of editor, and more a catalogue of name dropping wow moments and sledging. There is virtually nothing about the woman, other than a melange of bitterness and grief about her unceremonious ejection from Vogue Australia. Where is the context, where is the world-building, where indeed is the grammar and syntax? For someone styled as an editor, the writing was banal, at best.

I wanted so much more from this book. There must have been some drama, some humanity in that life. We hear of a marriage and of twins, we hear of the pregnancies of others - but not once do we get a sense of how Ms Clemens, or any of the other women in the book, actually juggles motherhood or marriage with a job that seems to have a lot of hours and travel - I say seems to, because I still have no sense of what Ms Clemens actually did for a living - or how she felt about it.

I gave up after a while and must consign this effort to my DNF pile.

I think Vogue Australia is a fine publication, and Ms Clemens has really missed the chance to bring its signature style and glamour to her own work.

[Ozma · Rating 3 out of 5]

I enjoyed reading about Kirstie's Australian childhood and ascent up the ranks of Vogue Australia. Having never been to college, her becoming the editor-in-chief was quite an achievement. She had basically done almost every other job at Vogue AU and was a natural for the choice. I also enjoyed reading about the fashion world, attending shows, being a foreign fashion correspondent. I love magazines. I think they are wonderful. I also love books. So books about magazines are even better! It was also interesting to read how some magazines, like Vogue AU, are licensed out to other companies to make the magazine whereas others, like Vogue US (which is THE Vogue) are Conde Nast properties. I would have liked way more dish on Anna Wintour, skinny models, lecherous photographers, and things like that, but that's okay. It was actually nicer to read about a professional woman who had a great sense of obligation to the work she was doing and living up to the Vogue name. The work that went into the various issues, hunting down interviewees etc was very enjoyable and actually reassuring to read. Reading about a professional woman trying to do a good job is enjoyable. I loved reading about how Karl Lagerfeld, much to Vogue AU's shock, agreed to guest edit an issue. Reading about how the eccentric man worked, with all his quirks, was fun too. Not a life changer, but a good read.

[Lexine · Rating 2 out of 5]

Although the personal anecdotes and journey Kirstie Clements shared regarding her ascent from lowly receptionist to the esteemed editor-in-chief position of Vogue Australia were fascinating, I would have undoubtedly enjoyed it more had it not been penned by Clements.
Half of her book assumes an awestruck tone, while the other half assumes a smarmy, self-congratulatory voice that, combined, ruined my expectations of this being a somewhat autobiographical "insider" account of a Vogue editor-in-chief. For one thing, while there are instances wherein I feel sorry for Clements due to her compromising position, her response, or rather, lack thereof, towards certain situations that she brings up in her book is frustrating. Without actually telling readers "how," the whole book is then reduced to a revenge piece, laced with the fluffy society names of those she met and became "dear friends" with. Moreover, I was irked by how Clements seems to have a stubborn affinity for double negatives. It's hard to believe she ever became editor-in-chief of such a prestigious magazine for so many years.
All in all, the topic is interesting and the point of view unique, but if it had been edited better, I might actually consider rereading it.

[Claudia · Rating 3 out of 5]

This was an interesting book, and I enjoyed to learn more about Australia's fashion industry. The author writes about Australian talents models, photographers, stylists, designers and locations. I also admire her for never badmouthing her former colleagues or any other person she worked with. While she tells stories about arrogant models or mean photographers, she does not name them. It's her integrity that is so special about her.
She writes about her early days as a receptionist, photo shoots on location, trips to perfume launches and fashion shows, and her four years in Paris. Another interesting part was her criticism of eating disorders in models, which was the most honest take on it from someone in the fashion industry I have ever seen.
For someone who is interested in the world of fashion or journalism, this book is a must read.
This is not "The Devil wears Prada" or anything like it. The author loved her job and she does not use this book as an outlet to punish the people who sacked her or to tell nasty secrets.

Copy provided by NetGalley

[Arpita · Rating 2 out of 5]

If want to write a book, I expect you to want to tell a story. I fail to understand how a bunch of anecdotes can be made into a book. Maybe she thought it was interesting just because it was coming from her. Like the reader is waiting with baited breath to lap up anything she has to say. Endless lists of names and people that she ever encountered found their way into the book. I can't deny she did give her all to her job and she rose through the ranks based on her great work, and that was great to read about. But when someone as hard working as her says she's impatient and expects things to be turned around quickly because she belongs to the Aries zodiac sign, just left me baffled. After that point, anything I read was just for the sake of finishing the book. It was a shame to see such a substandard book from someone who claims to be so invested in her work.

[Debbie Manning · Rating 4 out of 5]

I was a lucky Goodreads winner. I loved traveling around the world with Kirstie, and seeing the fashion industry through her eyes. I think my favorite chapter was the one about the time she spent with the Dutch royals. Some of her name dropping went over my head as I'm not a fashion insider, but not so much that it wasn't an enjoyable read. Although the book starts off with the author being fired (not a spoiler), after reading the book, I'm sure she's landed squarely on her feet.

[Ang · Rating 4 out of 5]

In spite of the fact that I don't much like memoirs (okay, I hate them), I actually enjoyed this. Two reasons: it was short and sweet, and it was also a really good look behind the scenes at an international edition of Vogue. Also, and I can't say what version you will read, the one I had was simply beautiful to hold. The published did a great job making it a stylish and pleasurable read aside from what was inside, which isn't as common as it should be.

[Verity Kingston · Rating 3 out of 5]

As a whole I liked it. Would I read it again no. It was an interesting insight into the fashion world, But after a while the book turned into a list of name dropping. Not to metion telling everyone how wonderful everything and everybody was. I did kind of want more dirt to be dished. Worth a read, but dont go running to the shops in desperation to pick up a copy.

[Toni Kely-Brown · Rating 2 out of 5]

I was so keen to read this. I enjoyed it but wanted more...what an editor does day-to-day and how vogue is pulled together, how she balanced work and motherhood. I'm sure its not all glamorous RTW, celebrities and couture. I liked her belief in integrity. I thinks its the most important element of leadership.

[Nicola Watkinson · Rating 4 out of 5]

This book was really interesting - less Devil Wears Prada bitching and snobbery, more honest hard work and dedication, as well as a clear love of fashion. For someone who also has a great appreciation for the fashion industry and magazine writing, this book gave me an insight into both worlds, and the ways in which they have changed since the 80s. Exciting, informative, and a quick read.

[Angie Eikens · Rating 1 out of 5]

This book was torture. She came across as selfrighteous and bitter and extremely condescending.We get it she spent alot of years at Vogue therefore she knows what's best for it. It just came across as a final up yours to Vogue for firing here. At best it was horrible.

[Fiona James · Rating 5 out of 5]

This is vogue! It is funny Face and Diana Vreeland, it is grace and elegance. There is none of the cattiness of Devil Wears Prada here. Just Vogue in all it's fabulous glory. Revel in it!

[Roma Wirecka · Rating 1 out of 5]

It was the worst thing i have read during this year. It is like a child sits with his crayons and writes simple words. Nothing makes sense and stories are ended before they even began. Shame.

[Alicia · Rating 3 out of 5]

Kirstie Clements, editor of Vogue Australia for thirteen years, details her time working her way up to Editor-in-Chief from celebrity encounters to the grunt work of putting together a magazine.

I don't regret reading this book but neither was I particularly moved. Clements's experiences are definitely interesting to read about, but that's about it. The parties are glamorous, the celebrity meetings are incredible (high tea at The Plaza with Estee Lauder, anyone?), and the style impeccable, but I found the personal narrative tiresome.

Clements constantly reworks the idea of the fashion industry away from the stereotypes of either hard, emotionless women with no sympathy or the bumbling airhead who only knows how to talk about clothes and shoes. AND YET when faced with readers holding Vogue as a standard for moral direction, Clements is surprised and says, "I mean, it's a fashion magazine full of shoes and bags." It seemed disingenuous, especially coming in the next to last chapter of the book after she's struggled to lead conceptions away from such bland opinions.

And of course, one of the first few chapters addressed the perception of sickly thin models and the extreme pressure of modern beauty standards. And even though she admits that she felt complicit in the matter, she does everything but shoulder some of the blame. I understand that not everything is up to her, and that she's just one cog in the system, but she spent more time talking about her success putting the first Australia "plus size" model (who was really just a little larger than deathly skinny) on the cover of Vogue Australia. And in the end, she did nothing but say "we all know that clothes just look better on a thin frame." Nice try, but she could've at least made the effort to sound like she cared more.

All around, I could've done with more plot and less inner reflection.

[Carolyn · Rating 3 out of 5]

Because of how this book was shelved, I took it as a history of Vogue magazine (US) from its inception to today, but it is more of an autobiography/career review by Kirstie Clements, a former editor of Vogue Australia, who worked her way up from receptionist to world-travelling fashion and style influencer by determination and hard work. There is a lot of name-dropping, particularly of Australian models and actors and other talent who came through for Australia Vogue (and other magazines Clements worked for) but for me (an American reader) it felt provincial in its own way. I found her relationship with her husband (whom she met in Paris and sounds like a very charming person) and sons one of the best parts -- as it sounds like they supported her whole-heartedly, as well as her experience as a judge (giving the prize of an 8-page spread) for Australia's Top Model and the politics therein in having to use a model she normally wouldn't have used, also very interesting. I'd say it is a good model for getting into fashion and publishing, but her path is outdated by today's standards. On the other hand, she clearly became truly passionate about fashion and saw publishing from the perspective of an editor in chief.

[Capote · Rating 3 out of 5]

A lot has been said about the apparent demise of former Vogue Australia editor Kirstie Clements who was unceremoniously dumped from her post almost a year ago after twenty five years of service at the magazine, with thirteen of those years spent in the editor’s chair. Thinking back on that particular day as I sit and write this review I distinctly remember discussing the difference between Harper’s Bazaar and Vogue at the time with fellow colleagues of mine at fashion week, only a couple of days before her axing (the most popular consensus being that Bazaar was growing stronger with each issue whilst Vogue was languishing further and further behind). You can then imagine my complete surprise when I read that Bazaar’s then editor – and Clements' longtime rival no less - Edwina McCann was to become her replacement. A big resounding ouch did indeed escape my lips.


Just days after her sacking the ousted editor signed a book deal to tell her side of the story. You may even call it an extended final editor’s letter if you like - the one she never got to write.


Thus introducing, The Vogue Factor.


I am sure that several people anticipated (and let’s be frank, even hoped) that her memoir would be treated as a no-holds-barred expose filled with sassy remarks and pure vengeance however early reports had suggested that it was in fact fairly an innocuous read. And these reports were right as rather than bash those behind her demise The Vogue Factor instead canvasses the hard work and total chaos that lie beneath the glossy covers of fashion magazines.


Here she tells the story behind the headlines and takes us on a journey behind the scenes of a fast-changing industry, inviting us into her Vogue world, a universe that brims with dazzling celebrities, fabulous lunches, exotic locales and of course, outrageous fashion.


Whilst the book itself consists of sixteen chapters, with each chapter focusing on a specific issue or time period during Clements' career at Vogue sharing various anecdotes from her early years at the front desk as a receptionist, to shooting Crown Princess Mary and Prince Fredrick of Denmark (her personal career highlight and one of her favourite covers) as well as wrangling Karl Lagerfeld to guest edit the December 2003 edition and Cate Blanchett’s memorable illustrated covers which celebrated the magazines fiftieth birthday in 2009, Clements also details the struggles she often faced during her time at Vogue with a chunk dedicated to things that were seemingly out of her control such as the issue of underweight models and their strange habit of eating tissues in order to make them feel full often causing them to faint mid shoot.


Although I personally agreed with the decision to revamp what was a tired looking Vogue starting with the appointment of a new editor, I didn’t at all like or respect the way the magazine’s publishers handled the axing itself. There are many things I admire about Kirstie Clements, one of them being her drive. Pure determination and a keen knowledge of all things Vogue is what gets you from the switchboards to the editor’s chair and it is this sort of ballsy work ethic that should be – needs to be – admired greatly.


If there was one thing that constantly irritated me throughout her long tenure however was her deeply patronizing attitude to the world of online media, particularly bloggers. Her complete and utter disdain for them was clearly and repeatedly obvious in several columns she wrote which were practically dripping with her condescending nature. Whether it was because she felt threatened with people’s opinions that print media was slowly dying - if not dead already - or whether she was annoyed that there were so many commentators sans journalistic credentials and/or magazine pedigrees that were garnering interest and (shock, horror!) respect from her very own peers, we may never know but her stance on the subject was – and still is – crystal clear.


While it is true that having the title 'blogger' still might not truly resonate any journalistic integrity or value within many of those in print media circles, what she didn’t understand – or didn’t wish to comprehend – was that the majority of online commentators are in fact huge fans of good quality journalism and whilst there is definitely a portion of those who take it all for granted, ‘fame whoring’ themselves for the exposure, the invitations and the free loot, there are more that genuinely have a love for the industry itself as well as the written word so it was incredibly frustrating to read that the very platforms cleverly available to those involved in online media, platforms that were used to express ones passions, was always such an issue for her.


Despite now being a blogger herself (oh the utter irony of it all) she still seems to have not altered her view judging by several comments in the book such as this particular gem:


"The street-style photographer and blogger, the amount of 'poseurs' that exist outside and inside the shows has become a whole new business...Decades of experience at revered mastheads and the ability to articulate intelligently may prove to be of very little value in the near future."


Whilst I do understand where she is coming from and what she means, grouping all bloggers and online commentators into one very big basket never did Clements any favours (and incidentally where her successor now reigns supreme having changed Vogue’s general stance towards online media by holding various events targeted directly to them right after her appointment).


All in all The Vogue Factor is a goldmine of advice from the many facets of the fashion industry and still is a must read book for anyone wanting to enter this world as it certainly sheds some light on both the highs and the lows straight from the mouth of a true insider.

[Romulus · Rating 2 out of 5]

Nudna opowieść o karierze redaktor naczelnej australijskiego "Vogue". Dałem się zwieść logo wydawcy. Książka nie oferuje żadnego ciekawego insiderskiego wejrzenia za kulisy. Ot, pani opowiada o swojej karierze od fotela recepcjonistki po fotel redaktor naczelnej. Wszystko fajne, grzeczne i nudne. Nawet na temat swojego zwolnienia pani opowiada w sposób mało wiarygodny. Wszystko było dobrze, niezła sprzedaż, reklamy - żyć nie umierać. Ale robotę straciła. Dodatkowa gwiazdka, że autorka nie próbuje się mścić, oskarżać, odgryzać. Zachowuje klasę. Ale na wiele się to książce nie przydaje.