Stefano Maruzzi has implanted hefty strategic changes since being appointed president of CondeNet International, the online division of Conde Nast, in March. So tumultuous has his reign been, that CondeNet employees speak of the 'Stefano Tsunami'.
"Tsunamis usually have negative connotations," Maruzzi jokes, "but I think they're referring to lots of changes and a new mentality."
The most drastic change is a shift in company structure, moving CondeNet from separate, localised entities to an international organisation with all markets reporting directly to London headquarters.
This is no mean feat given that Conde Nast International's 58 sites originate in 12 countries. In line with this progression, Maruzzi has brought in a raft of talented internet staff.
Conde Nast is displaying strength in a threatened print market (rumours that IPC's NME is to move to a purely online title have been denied). It continues to launch traditional products in emerging markets such as Russia and India, as well as more consolidated Western economies, such as France, Spain and Italy.
In this context, what is the role of the online business? For Maruzzi, online media is a combination of content and technology.
"Being a media company, we don't control technology, but thank God you can buy it and play a significant role on this platform," he says. Maruzzi's challenge now is to identify and work on recreating the atmosphere and brand values of Conde Nast titles. "I think we need different ingredients to replicate these online," says Maruzzi. "We are experimenting with alternatives across markets to find the best answer."
Conde Nast Interactive has been pioneering taking magazines into digital platforms. Vogue has now been joined by Glamour on YouTube (with GQ further bolstering Conde Naste's presence on the site).
Maruzzi is still mulling over the best use of video, including what to produce and how to distribute it. While the business is currently using YouTube as a distribution channel, Maruzzi plans to develop more professionally created television programming. Conde Nast is already trialling television production with fashion content in Taiwan.
He also hints at the potential of adapting other professionally made content, for example, bringing in experts from Conde Nast fashion titles to comment on catwalk or music videos. "We'd be interpreting video content that is produced by others through our own editorial lenses," Maruzzi explains.
Given that Glamour and GQ are both available in mobizone format (compressed for mobile phones), what does Maruzzi think of the potential offered by mobile technology? He waxes lyrical about Apple's iPhone, sharing an anecdote about accessing historical financial data from the depths of Yosemite National Park.
"In this sense, I get mobility, until then I was sceptical." He is honest though, in saying that Conde Nast monthlies' content "doesn't answer these kinds of (information on-the-go) needs".
In September, LG signed a seven-figure deal across Vogue.com and GQ.com, backing the firm's sponsorship of Vogue TV at Fashion Weeks across Europe. Just last month, Philips also selected Vogue.com to promote the new Aurea Flat TV, in a deal brokered by Isobar.
For client advertisers, Conde Net's strength lies in what Maruzzi calls "customer solutions and special projects", catching consumers close to purchasing point. "Interactivity is an area we should invest more in, because this is what clients want," he concludes.
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