Condé Nast executives spent an hour and 10 minutes selling media buyers on their access to and position at the head of culture at its NewFront presentation in Manhattan on Thursday.

Actually, a succession of executives — including chief financial officer Pam Drucker Mann; global chief content officer Anna Wintour; Vogue European editorial director Edward Enninful, and Vanity Fair editor in chief Radhika Jones — said the word “culture” so persistently, if the audience was playing a drinking game, they might have been falling off of their chairs 20 minutes into the show.

“We don’t just make content, we make culture,” said Mann, as she boasted of 300 latest social originals and pilots across greater than 55 brand channels in 11 countries.

The presentation — on the 65^th floor of The Spiral, the terraced mirrored skyscraper the occupies a city block within the canyons of Hudson Yards — was heavy on video snippets of Vogue’s most up-to-date Met Gala and last yr’s inaugural Vogue World event, which featured Little Nas X, Serena Williams, the Hadid sisters and stunt cyclists and the Howard University dance team, and kicked off Recent York Fashion Week. Enninful revealed, in typically soft-spoken fashion, that this yr’s Vogue World would happen in London, in Covent Garden, on Sept. 14.

“The pandemic solid an extended shadow over the humanities,” Enninful told the room filled with media buyers, adding that one hundred pc of Vogue World ticket sales would profit performing arts charities in London. BAFTA-winning film and theater director Stephen Daldry will helm the event which, just like the Recent York show, will coincide with Vogue’s hefty (although lower than it was once) September issue and in addition kick off London Fashion Week.

Next yr’s Vogue World might be in Paris, the location of the 2024 Summer Olympics, before moving to Asia after which back to the U.S.

The invention of Vogue World — a fashion show/street festival/multimedia event vaguely paying homage to Vogue’s Fashion’s Night Out of years past — was an undeniable win for Wintour at a time when she has endured whispers concerning the calcification of the U.S. flagship and rumors of discord with Enninful, whose British Vogue has emerged as a zeitgeist-y hit within the Condé Nast firmament.

“Our editors have spent a lot time at fashion shows through the years and world wide. Our idea was, why not make one with Vogue’s footprint?” explained Wintour. “And at the identical time, give our audiences a unique approach to take into consideration shopping [with an e-commerce site that allowed shoppers to buy items in real time]. It could even be a companion to our September global content, but most significantly, a latest way for us to have a look at creating content with Vogue’s editorial sensibility and our particular viewpoint.”

Vogue World is also an example of the form of content that Condé Nast can actually scale and monetize amid declining digital ad revenue and when TikTok influencers have usurped legacy media’s gatekeeper status. Enninful noted that this yr’s event — which can feature the very best of London’s creative community including theater, dance and music — might be “a possibility for us to make an infinite amount of content.”

Handled strategically, Vogue World could grow to be a second tentpole together with the Met Gala, which has grow to be Vogue’s biggest live video event. This yr’s Met Gala content notched 329 million global video views, 2.2 billion social impressions and 14 billion media impressions, in keeping with Mann.

And the immediacy and reach of exclusive celebrity festooned events — including Vanity Fair’s Oscar party and GQ programming around sporting events, including the Super Bowl — was a significant talking point throughout the presentation.

Stressing the FOMO-ness of live originals, Agnes Chu, president of Condé Nast Entertainment, introduced a handful of latest series including: Vanity Fair’s “A List with Franklin Leonard,” an interview program hosted by The Black List creator and VF contributing editor; “Vogue Final Fitting,” which follows celebrity brides during their final wedding dress fitting and was inspired by TikTok influencer Sofia Richie’s much-consumed posts about plans for her lavish wedding; “Home At Last,” an Architectural Digest-branded five-episode series that follows “Queer Eye’s” Tan France as he builds his dream home in Salt Lake City; Bon Appétit’s “Street Eats,” featuring Nice Day chef Lucas Sin seeking Hong Kong’s best street, and “The Mort Report,” which has street style influencer Mordechai Rubinstein, aka Mister Mort, conducting man-on-the-street interviews for GQ.

The corporate also has 230 returning series including “Vogue’s Beauty Secrets,” GQ’s “10 Essentials,” Wired’s “Autocomplete Interview” and AD’s “Open Door” (which heads into its fourth and final season this yr). Chu noted that these 4 series generated greater than 700 million video views last yr.

That Condé Nast executives are pitching a legacy print company as the unique influencer at a time of faltering promoting revenue is just not surprising. And the corporate is sitting on a surfeit of IP, if only it might be captured, scaled and interpreted for a latest generation. Mann stressed that 40 percent of the corporate’s digital audience is Millennial and Gen Z. When she introduced the 73-year-old Wintour, she characterised the longtime editor of Vogue (who has been atop the masthead since 1988) as “the living embodiment of how Condé Nast creates culture.”

For Wintour, the trick might be to maintain doing it in a language that the TikTok generation speaks.