Vintage Magazine Proves There's a Market for the 'Beautiful, Informative and Novel'
INBOX: You were inspired by Fleur Cowles' Flair, which saw a short but brilliant run in the early '50s. Do you think there is an unserved audience today looking for a design-focused magazine coupled with top-noch editorial? Does the movement toward "niche" markets open up opportunity even as mass market interest continues to shift elsewhere?
SHERMAN: Every generation has its share of audience that seeks a beautifully designed/distinguished content magazine and I believe that every generation has its share of such magazines. Today, however, we are more aware of the global reach of the audience; printing is faster; graphic options are more vast; the concept of reading is being redefined—the pace is quicker, there are multiple platforms and dimensions; information is omnipresent. In short, audiences are presented with abundant and often elegant choices, but confronted with a formidable weeding task as well. The movement toward "niche" markets opens up opportunity in that it helps with the weeding process.
INBOX: How do you handle production of Vintage Magazine? Do you work with multiple designers on an ad hoc basis or maintain a group of people you call on?
SHERMAN: I sit as founder and publisher and editor-in-chief of Vintage Magazine, but the editing and production work is the most thrilling and satisfying for me as I guide the magazine from disparate pieces to an organic whole. I come up with the design concepts for each piece and then sit down with Regis Scott, an intrepid graphic designer, who brings the concepts to life. I work closely with the printer ... from the beginning of the project to discuss paper as well as printing options—there is often an aspect of printing that can take the design to a new dimension, just as the design can push the printing. Every issue is a fantastic journey.