Advertising: Fall Campaigns, With an Eye on Holiday Sales

Fall Campaigns, With an Eye on Holiday Sales

A 1986 Kenneth Cole ad, promoting the American Foundation for AIDS Research, will be included in an advertising archive to be featured online.

HOW concerned is Madison Avenue about the mood of consumers as the crucial fall and Christmas shopping seasons near? Well, one sign of the uncertain times is that Kmart and the Draftfcb agency have already started running a commercial promoting Kmart’s holiday layaway program â€" more than a hundred days before Christmas.

Among the apparel brands introducing campaigns for the fall is Lilly Pulitzer.

“People are feeling a little better off, but they’re very cautious, very careful,” said Kenneth Cole, the apparel designer whose Kenneth Cole Productions sells clothing and footwear.

For those like Mr. Cole who market nondurable goods, there is less money to go around as millions of consumers buy cars, new homes and furniture. And data shows Americans are using credit cards to meet more urgent needs rather than make discretionary purchases. That means working harder to divine just what will motivate consumers to become customers.

“When we give them what they want, they’re there,” Mr. Cole said of shoppers. “You have to offer them something different, a creative alternative.”

One way Mr. Cole’s company will try doing that is through a special Web site, 30yearsbold.com, that is to go live on Thursday, offering a searchable, shareable archive of Kenneth Cole brand advertising that was created internally and by the Kirshenbaum & Bond agency. The budget for the initiative, said Amy Choyne, chief marketing officer, is estimated at $1 million.

There will also be a book, “This Is a Kenneth Cole Production,” to be published by Rizzoli, written by Mr. Cole and Lisa Birnbach. The book will cover Mr. Cole’s social activism, which is expressed through his advertising, along with a retrospective of the campaigns.

For the Lucy line of women’s activewear sold by the VF Corporation, a similar desire to reach consumers in “unexpected, nontraditional” fashion led to a decision to pass “at this point in our brand’s life” on conventional advertising like commercials or print ads, said Laurie Etheridge, president for Lucy.

Rather, there are plans for an installation on the Charles River Esplanade in Boston that Ms. Etheridge and Dawn Dzedzy, director for brand marketing, are calling a “light forest,” after its more than 10,000 solar-powered LED lights. People will be able to visit the project from Oct. 3 through 13, Ms. Dzedzy said, “and we’d love to take it to other cities.

“It’s an opportunity to connect with consumers,” she added, “to show who we are rather than tell.”

The project, developed by the Mono agency in Minneapolis, part of MDC Partners, is estimated to cost under $2 million. It is an example of experiential marketing, which seeks to give brands a tangible presence outside of stores. The idea behind the installation is to provide women with “opportunities to refresh and ‘de-stress,’ ” Ms. Etheridge said.

Ms. Dzedzy put it this way: “It’s giving women an amazing moment. This doesn’t say, ‘Here’s a light forest; go buy some yoga pants.’ “

Jane Schoenborn, vice president for creative communications at Lilly Pulitzer, the women’s apparel company, agreed that it was increasingly critical to stand out amid a sea of sameness. “Because of our resort-chic brand positioning, we are filling a different niche,” Ms. Schoenborn said of the distinctive style created by Lilly Pulitzer, known as the Palm Beach princess of prints.

Even so, “we’re careful with our price points so we don’t make it hard to buy,” she added. “When our consumer sees the garment, and sees the price tag, she is delighted with what she sees, the perceived value. And when we delight her, she pulls the trigger and purchases with us.”

Lilly Pulitzer is introducing a campaign â€" in a collaboration between an internal team and Agency Magma in New York â€" that illustrates a theme of “Life in print.” The campaign, with a budget estimated at more than $2.2 million, will be in digital media, which is “becoming the new voice for the brand,” Ms. Schoenborn said, because “we’re finding our consumer loves to talk to us online.”

Crocs, the shoe brand, is also concentrating on digital platforms for a coming campaign, which includes the crocs.com Web site and social media such as Twitter. The effort, mostly created internally, is centered on a lighthearted self-proclamation that designates Sept. 28 as “International Comfort Day,” in a nod to the brand’s promise of comfortable footwear.

“It’s a message we can own as a brand,” said Andy Sackmann, chief marketing officer at Crocs Inc., of providing “fun things to engage people.”

At the same time, reflecting the recent difficulties Crocs has had in the United States market, the campaign will offer “incentives to get people in store,” he added, like a 20 percent discount.

The goal is “to turn this into a true business-driven initiative and not just a P.R. activity,” Mr. Sackmann said. “We want to tell a brand story and tell a product-awareness story.”

Ex-Ad Chief Is Named Next Leader at Pandora

Pandora Media on Wednesday named Brian P. McAndrews, a technology and digital advertising executive, its chief executive and chairman. He succeeds Joseph J. Kennedy, who announced his resignation in March after nine years with Pandora, a leading Internet radio service.

Brian P. McAndrews has been named chairman and chief executive of Pandora Media.

Mr. McAndrews, 54, is the former chief executive of aQuantive, an online advertising company, and most recently he was a partner with the Madrona Venture Group, a venture capital firm focused on technology. He serves on a number of corporate boards, including The New York Times Company, the food ordering service GrubHub Seamless, and AppNexus, an online advertising platform.

“I’m impressed with what the company has done in inventing a new type of product, transforming the way people listen to music and continuing to grow successfully,” Mr. McAndrews said in an interview on Wednesday. “My goal is to help the company continue that trajectory and take it to the next level.”

The company’s stock rose more than 5 percent in after hours trading after the news.

Mr. McAndrews’s experience with online advertising is crucial for Pandora, which makes almost 90 percent of its revenue from ads and has grown into one of the most popular places for people to listen to music. In August, the service had 72.1 million active users.

After beginning his career at General Mills and ABC, Mr. McAndrews took over Avenue A, a digital ad agency in Seattle, in 1999, and built it into aQuantive. It was bought by Microsoft in 2007 for $6 billion, during a rush by technology giants like Google and Yahoo to acquire digital ad companies.

Mr. McAndrews was promoted to lead Microsoft’s publishing and advertising group but left in 2008. In the years after that, the performance of aQuantive slid. In 2012, Microsoft took a $6.2 billion accounting charge in its online services division, which included aQuantive.

“We had very specific criteria for our new C.E.O., and we were very strategic about finding the right person. Brian is that person,” Tim Westergren, Pandora’s founder and chief strategy officer, said in a statement. “No one better understands the intersection of technology and advertising, which he clearly demonstrated during aQuantive’s meteoric rise.”

Pandora has also been pressured by investors to maximize its ad rates, particularly on mobile devices, and to limit expenses. Its push to reduce music royalties has led to a frosty relationship with the music industry. On Wednesday, Mr. McAndrews echoed the company’s familiar position on royalties.

“I share Pandora’s longstanding belief that musicians have to be compensated fairly, but the existing system has been put together piecemeal and does not serve anyone well,” he said.

Mr. McAndrews’s corporate biography has already been tailored for digital music. His playlists, according to Pandora, “reflect his love for Elton John, Billy Joel, the Rolling Stones and Bruce Springsteen,” as well as younger acts like Bruno Mars and Rihanna.

Big Record Labels File Copyright Suit Against Sirius XM

Pop music is full of famous dates: Feb. 9, 1964, when the Beatles first appeared on “The Ed Sullivan Show.” Aug. 1, 1981, MTV’s on-air debut.

Another, Feb. 15, 1972 â€" when federal copyright protection began to apply to recordings â€" has less popular recognition. But a string of lawsuits recently argue that licensing issues tied to that date may be worth hundreds of millions of dollars to singers and record labels. If the suits are successful, they could also bring a headache of liability to satellite and Internet radio services.

On Wednesday, the three largest record companies â€" Sony, Universal and Warner, along with ABKCO, an independent that controls many of the Rolling Stones’ early music rights â€" sued Sirius XM Radio in a California court, saying that the satellite service used recordings from before 1972 without permission. Even though federal copyright protection does not apply to these recordings, the suits say that they are still covered by state law.

The suit is the third major complaint filed against Sirius XM in five weeks. The band the Turtles â€" whose song “Happy Together” was a No. 1 hit in 1967 â€" and the royalty agency SoundExchange filed similar suits last month, each seeking up to $100 million in damages. The suit filed on Wednesday, in Los Angeles Superior Court, seeks unspecified damages and a declaratory judgment about the rights involved in pre-1972 recordings.

“It is disgraceful, unfair, and probably criminal that Sirius XM is stealing monies due to me and other performing artists,” the singer Judy Collins said in a statement. “Performers should be paid their fair share of the royalties from their songs.” Among other artists mentioned in the suit are the Beatles, the Rolling Stones, Frank Sinatra and the Supremes.

A spokesman for Sirius XM declined to comment on the suit.

The suits against Sirius could have a broad impact in digital music. Pandora, which like Sirius relies on the compulsory licensing provisions of federal copyright law, could be affected. But lawyers and music executives said it would probably not have an impact on Spotify and other on-demand services, which tend to strike all-encompassing licensing deals with labels. Terrestrial radio broadcasters pay royalties only to music publishers, which control songwriting copyrights; digital services must also pay for use of recordings.

Sirius XM, the only satellite radio service in the United States, has 25 million subscribers who pay $14.49 or more a month. Last year, the company had $3.4 billion in revenue and paid 8 percent of its gross revenue in royalties to record companies and performers, according to its annual report. SoundExchange, whose suit accused Sirius XM of improper royalty accounting, estimated that oldies make up 10 to 15 percent of all the airplay on the satellite service.

The legal argument behind the major labels’ suit differs little from the one being made in the Turtles’ case, but it underscores the importance of the issue to the music industry. The Turtles’ suit has applied for class-action status, which could take months to establish. By filing their own suit, the industry’s biggest powers are looking to control the issue on their own terms and get a ruling as quickly as possible.

The issue of licensing for recordings before 1972 has been mostly untested in courts. Lawyers and music executives say that the new suits are a response to questions that have arisen in other recent cases, and also to new terms established for satellite radio by the Copyright Royalty Board, a panel of federal judges that regulates some forms of licensing.

Jonathan B. Sokol, a lawyer who often represents music companies in copyright cases, said that the cases may face difficulty proving a public performance right for recordings under law. For one thing, he noted, that would implicate many other businesses that may have licenses with music publishers, which control songwriting rights, but not record labels.

“The problem is that anybody that has rights to a master recording could come after anybody engaging in public performance â€" any bar, restaurant, sports stadium,” said Mr. Sokol, who is not involved in the Sirius suits.

‘Breaking Bad’ Spinoff, ‘Better Call Saul,’ Is Picked Up by AMC

Ursula Coyote/AMC, via Associated Press

Bob Odenkirk plays the lawyer Saul Goodman on "Breaking Bad." The character will be the basis of a new series, "Better Call Saul."

The news for “Breaking Bad” fans isn’t all bleak, as their much-loved series draws to a close.

Saul Goodman will be back in his own series.

AMC and the Sony Pictures Television announced on Wednesday that “Better Call Saul” â€" the long-rumored spinoff of “Breaking Bad” â€" is going forward, with Bob Odenkirk set to star as Saul, the morally comprised lawyer who has represented the meth dealers Walter White and Jesse Pinkman.

The news behind the announcement is that AMC is the network that wound up with the show. Despite the iconic status achieved by “Breaking Bad,” the network did not jump to buy the spinoff; that hesitation allowed several other networks to express serious interest in picking it up.

The negotiations went down to the wire, according to one executive briefed on the details. AMC had an exclusive negotiating period, but no deal was in place by the time that ended. Out of consideration for the partnership over “Breaking Bad,” however, the period was extended and AMC and Sony concluded a deal.

The planned series, which does not yet have a date to go on the air, will be a prequel rather than a sequel â€" which, for rabid “Bad” fans, who continue to obsess over every possible outcome of the series, means the Saul character does not necessarily survive. The new show will cover the evolution of Saul into the colorful character “Bad” fans have come to love.

Encounters: Glenda Bailey: Fashion’s Intrepid Pursuer

Glenda Bailey: Fashion’s Intrepid Pursuer

Valerio Mezzanotti for The New York Times

Glenda Bailey, left, and Joanna Hillman, the style director at Harper’s Bazaar, at Lincoln Center for the Diane von Furstenberg show on Sunday.

Victoria Beckham stood backstage after her show last Sunday morning, surrounded by reporters asking questions about her spring 2014 collection, while her husband, David Beckham, was off in another part of the room, tending to their toddler, Harper.

Glenda Bailey, the editor in chief of Harper’s Bazaar, at Lincoln Center on Sunday.

Glenda Bailey, the editor in chief of Harper’s Bazaar and one of Ms. Beckham’s early champions, stood patiently nearby, waiting for the throng to subside. After a few moments, Ms. Beckham noticed Ms. Bailey standing there and reached out and embraced her.

“Thank you so much for coming,” Ms. Beckham said.

“I loved it, really,” Ms. Bailey said, animatedly emphasizing the word love, her voice immediately recognizable as the one that was once described by a reporter as “a northern British accent devoid of almost all grace notes.”

Eager to get back to the Hearst offices during the 90-minute break before the next show began, back downtown, the copper-haired Ms. Bailey navigated a maze and, to a guard’s dismay, moved a temporary wall out of her way.

“It’s all in a day’s work,” she said with a laugh, heading toward her car while talking about a look from the collection that she had particularly liked: a fitted black dress with a touch of white. “The idea of wearing a black base with a touch of white is going to be key for next season,” she said.

Just before the show, Ms. Bailey talked about how she tried to manage the logistics of the “fashion month” safari that started on Sept. 5 in New York and will go through London and Milan before ending in Paris in early October. Trying to find a manageable wardrobe that would carry her through the four different fashion weeks was one challenge â€" today she was dressed in an elegant black Derek Lam dress, which she accessorized with a black Balenciaga bag and black Alexander Wang shoes that had thick straps crossing at the ankle â€" but controlling her allergies was just as big a trial.

“If you see me tear up, it’s due to allergies, not because I’m overcome with emotion at the collection,” she said, showing the humor that is well known to both staff members and readers of Harper’s Bazaar. “I’m not the sort of person who sits at the shows with my sunglasses on.”

Ms. Bailey dropped her bag at her office, which is furnished with white Barcelona chairs, black-and-white photographs and one touch of color, an illustration of Ms. Bailey by the Chanel designer Karl Lagerfeld. The windowsills are covered with awards for the magazine, where Ms. Bailey, 54, has presided since being named editor in chief in 2001 after a spectacular run at the British and American editions of Marie Claire. The American edition increased its circulation by 80 percent under her editorship.

The magazine’s design director, Elizabeth Hummer, came bearing page layouts, and Ms. Bailey quickly approved the front-of-the book pages for the November issue. The theme in the feature section is inspired by a quotation from the revered Harper’s Bazaar editor Carmel Snow: “Elegance is good taste plus a dash of daring.”

As she looked over the pages, Ms. Bailey expressed doubts about the colored type introducing the section. “It’s just the way the pale lemon will print,” she said. “I love it, but I’m just worried it won’t work out.”

Before getting into her car to head to the Derek Lam show, Ms. Bailey said her first priority at the collections was to find a look that would work for a forthcoming cover of the magazine, and if she spotted a contender the magazine would put an exclusive on it. Often that process begins with a brief exchange between Ms. Bailey and one of her editors. At the Victoria Beckham show, Ms. Bailey discreetly snapped photos of pieces she liked as the models walked by, and then turned around to show them to Joyann King, the magazine’s digital director, who was sitting directly behind her in the second row. 

“I love that one,” Ms. King said. Ms. Bailey replied, “I’ll send it to you.”

The editors are also clocking trends. In less than a week, photography will begin on items culled from this week for the February 2014 issue. “We are only three major shows in, and we’ve seen lots of gray and the introduction of pastels,” she said. (The October issue, on newsstands Sept. 24, features Miley Cyrus on the cover in a Burberry Prorsum dress from resort 2014; subscriber copies will show Linda Evangelista wearing a black Azzedine Alaïa dress from fall 2013.)

As she entered the white gallery space where Mr. Lam was showing, Ms. Bailey was embraced by Jan-Hendrik Schlottmann, the head of the company and the designer’s partner. As the two went backstage, a black-clad assistant searched for Mr. Lam: “Anyone have eyes on Derek? Glenda Bailey would like to say hello.”

Ms. Bailey gazed up at the look board of the show above her head and zeroed in on Look No. 13, a midcalf denim dress with a wide belt. “I have been saying we are going to see some longer lengths, and that length is really new and exciting.” Ms. Bailey found the dress hanging on the rack and enthusiastically announced: “I am correct. I love the shape of this.”

At the next stop, the DKNY show at a Chelsea theater, a crowd of people holding their seat assignments swelled into the street, waiting for the doors to open. Honking taxis tried to get by idling S.U.V.’s. Ms. Bailey chatted with Fabrizio Freda, the Estée Lauder chairman, about trips to Europe, the United States Open and a promising young model. “She is in school, so she can only be in work when she is on vacation,” she said. “I promise you, she will be a huge star and is quintessential Lauder.”

Once inside, Ms. Bailey was greeted by Donna Karan, and the two began to talk about getting together for lunch. “This woman is a woman with a heart!” Ms. Karan exclaimed. “She is much deeper than fashion. She gets into the soul.”

A throwback to an earlier, graffiti-filled New York, the show opened with the Beastie Boys blaring in the background. Ms. Bailey spotted another trend, logos, noting that Alexander Wang’s collection the day before was full of them. “We haven’t seen that for a while,” she said. “A logo says, ‘This is what I stand for.’ ”

The day then passed swiftly. Thakoon at 3 p.m. (Ms. Bailey posted on Instagram: “I love that Thakoon has a modern edge but glamour is never far away â€" the diamante clasps were fabulous.”), Diane von Furstenberg at 4, a quick drop-in at a party at Jeffrey New York for Loewe/Comme des Garçons, on to Zac Posen at 7 and then the Ralph Rucci show at 8.

The good news? Her allergies were kept at bay. “When it comes to Fashion Week,” she proclaimed, “you need your eyes.”

A version of this article appears in print on September 12, 2013, on page E1 of the New York edition with the headline: Fashion’s Intrepid Pursuer .

Encounters: Glenda Bailey: Fashion’s Intrepid Pursuer

Glenda Bailey: Fashion’s Intrepid Pursuer

Valerio Mezzanotti for The New York Times

Glenda Bailey, left, and Joanna Hillman, the style director at Harper’s Bazaar, at Lincoln Center for the Diane von Furstenberg show on Sunday.

Victoria Beckham stood backstage after her show last Sunday morning, surrounded by reporters asking questions about her spring 2014 collection, while her husband, David Beckham, was off in another part of the room, tending to their toddler, Harper.

Glenda Bailey, the editor in chief of Harper’s Bazaar, at Lincoln Center on Sunday.

Glenda Bailey, the editor in chief of Harper’s Bazaar and one of Ms. Beckham’s early champions, stood patiently nearby, waiting for the throng to subside. After a few moments, Ms. Beckham noticed Ms. Bailey standing there and reached out and embraced her.

“Thank you so much for coming,” Ms. Beckham said.

“I loved it, really,” Ms. Bailey said, animatedly emphasizing the word love, her voice immediately recognizable as the one that was once described by a reporter as “a northern British accent devoid of almost all grace notes.”

Eager to get back to the Hearst offices during the 90-minute break before the next show began, back downtown, the copper-haired Ms. Bailey navigated a maze and, to a guard’s dismay, moved a temporary wall out of her way.

“It’s all in a day’s work,” she said with a laugh, heading toward her car while talking about a look from the collection that she had particularly liked: a fitted black dress with a touch of white. “The idea of wearing a black base with a touch of white is going to be key for next season,” she said.

Just before the show, Ms. Bailey talked about how she tried to manage the logistics of the “fashion month” safari that started on Sept. 5 in New York and will go through London and Milan before ending in Paris in early October. Trying to find a manageable wardrobe that would carry her through the four different fashion weeks was one challenge â€" today she was dressed in an elegant black Derek Lam dress, which she accessorized with a black Balenciaga bag and black Alexander Wang shoes that had thick straps crossing at the ankle â€" but controlling her allergies was just as big a trial.

“If you see me tear up, it’s due to allergies, not because I’m overcome with emotion at the collection,” she said, showing the humor that is well known to both staff members and readers of Harper’s Bazaar. “I’m not the sort of person who sits at the shows with my sunglasses on.”

Ms. Bailey dropped her bag at her office, which is furnished with white Barcelona chairs, black-and-white photographs and one touch of color, an illustration of Ms. Bailey by the Chanel designer Karl Lagerfeld. The windowsills are covered with awards for the magazine, where Ms. Bailey, 54, has presided since being named editor in chief in 2001 after a spectacular run at the British and American editions of Marie Claire. The American edition increased its circulation by 80 percent under her editorship.

The magazine’s design director, Elizabeth Hummer, came bearing page layouts, and Ms. Bailey quickly approved the front-of-the book pages for the November issue. The theme in the feature section is inspired by a quotation from the revered Harper’s Bazaar editor Carmel Snow: “Elegance is good taste plus a dash of daring.”

As she looked over the pages, Ms. Bailey expressed doubts about the colored type introducing the section. “It’s just the way the pale lemon will print,” she said. “I love it, but I’m just worried it won’t work out.”

Before getting into her car to head to the Derek Lam show, Ms. Bailey said her first priority at the collections was to find a look that would work for a forthcoming cover of the magazine, and if she spotted a contender the magazine would put an exclusive on it. Often that process begins with a brief exchange between Ms. Bailey and one of her editors. At the Victoria Beckham show, Ms. Bailey discreetly snapped photos of pieces she liked as the models walked by, and then turned around to show them to Joyann King, the magazine’s digital director, who was sitting directly behind her in the second row. 

“I love that one,” Ms. King said. Ms. Bailey replied, “I’ll send it to you.”

The editors are also clocking trends. In less than a week, photography will begin on items culled from this week for the February 2014 issue. “We are only three major shows in, and we’ve seen lots of gray and the introduction of pastels,” she said. (The October issue, on newsstands Sept. 24, features Miley Cyrus on the cover in a Burberry Prorsum dress from resort 2014; subscriber copies will show Linda Evangelista wearing a black Azzedine Alaïa dress from fall 2013.)

As she entered the white gallery space where Mr. Lam was showing, Ms. Bailey was embraced by Jan-Hendrik Schlottmann, the head of the company and the designer’s partner. As the two went backstage, a black-clad assistant searched for Mr. Lam: “Anyone have eyes on Derek? Glenda Bailey would like to say hello.”

Ms. Bailey gazed up at the look board of the show above her head and zeroed in on Look No. 13, a midcalf denim dress with a wide belt. “I have been saying we are going to see some longer lengths, and that length is really new and exciting.” Ms. Bailey found the dress hanging on the rack and enthusiastically announced: “I am correct. I love the shape of this.”

At the next stop, the DKNY show at a Chelsea theater, a crowd of people holding their seat assignments swelled into the street, waiting for the doors to open. Honking taxis tried to get by idling S.U.V.’s. Ms. Bailey chatted with Fabrizio Freda, the Estée Lauder chairman, about trips to Europe, the United States Open and a promising young model. “She is in school, so she can only be in work when she is on vacation,” she said. “I promise you, she will be a huge star and is quintessential Lauder.”

Once inside, Ms. Bailey was greeted by Donna Karan, and the two began to talk about getting together for lunch. “This woman is a woman with a heart!” Ms. Karan exclaimed. “She is much deeper than fashion. She gets into the soul.”

A throwback to an earlier, graffiti-filled New York, the show opened with the Beastie Boys blaring in the background. Ms. Bailey spotted another trend, logos, noting that Alexander Wang’s collection the day before was full of them. “We haven’t seen that for a while,” she said. “A logo says, ‘This is what I stand for.’ ”

The day then passed swiftly. Thakoon at 3 p.m. (Ms. Bailey posted on Instagram: “I love that Thakoon has a modern edge but glamour is never far away â€" the diamante clasps were fabulous.”), Diane von Furstenberg at 4, a quick drop-in at a party at Jeffrey New York for Loewe/Comme des Garçons, on to Zac Posen at 7 and then the Ralph Rucci show at 8.

The good news? Her allergies were kept at bay. “When it comes to Fashion Week,” she proclaimed, “you need your eyes.”

A version of this article appears in print on September 12, 2013, on page E1 of the New York edition with the headline: Fashion’s Intrepid Pursuer .

Tina Brown to Leave Daily Beast to Focus on Conferences

Tina Brown, one of the magazine industry’s most well-known editors and founder of The Daily Beast, announced Wednesday that she is leaving the Web site to start her own conference company.

Her departure ends a partnership with her financial backer, Barry Diller, the chairman of IAC/InterActiveCorp, that began in 2008.

Ms. Brown said she would start Tina Brown Live Media, which will focus on building up the Women in the World conferences she has been organizing and running for several years. At a meeting with the Daily Beast staff Wednesday, Ms. Brown said that she would remain until the end of the year, when her contract expires.

“It has been wonderful to grow the Women in the World summit into such a powerful, independent brand within The Daily Beast, and now it will be even more exciting to see how it can expand and develop,'’ Ms. Brown said in a statement.

An executive with direct knowledge of the negotiations said Ms. Brown’s split from Mr. Diller was friendly, and that she had been saying for more than a month that she did not want to continue in such a stressful position into the new year.

News of Ms. Brown’s departure was first reported by the Web site BuzzFeed.

Ms. Brown and Mr. Diller came together in 2008 to launch The Daily Beast. But their relationship was put to the test in 2010 when Ms. Brown persuaded Mr. Diller to help support the storied but struggling Newsweek magazine and merge it with The Daily Beast. Even Ms. Brown’s best efforts to save Newsweek were soured by the struggling market for newsmagazines, and the magazine lost millions of dollars.

Mr. Diller complained publicly for months about his frustrations with Newsweek. Late in 2012, Ms. Brown announced that Newsweek would cease publishing a print edition. In May, Ms. Brown confirmed that the magazine was up for sale, and in early August Newsweek was sold to the digital news company International Business Times.

The news of Ms. Brown’s coming departure attracted rapid-fire attention on Twitter from the myriad people who follow the New York media world and have followed her over the past few decades as editor of Vanity Fair, The New Yorker and Talk magazine. Within minutes of its report, BuzzFeed posted on Twitter a photograph of Ms. Brown sitting alone in a Chelsea restaurant, reporting that she was “yelling into the phone.”

The photograph drew 53 retweets and more than a dozen comments mixed with sadness and schadenfreude. They ranged from “I don’t know what to say! I feel bad for her!” to “I seriously LOL’d at that photo and could imagine her screeching in my head.”

Ms. Brown’s challenges with running Newsweek presented more challenges for Mr. Diller, who had to decide whether to renegotiate her contract by year’s end.

It appears that Ms. Brown will continue to have some ties with The Daily Beast and IAC even in her conference business. She has been hosting the Women in the World conferences for the last three years along with Mr. Diller’s wife, Diane von Furstenberg, and Meryl Streep. She is taking her events group, which is headed by Kathy O’Hearn, from The Daily Beast to help her with her conferences.

In a statement issued by Ms. Brown, she said The Daily Beast will remain a media partner for the April 2014 conference.

Tina Brown to Leave Daily Beast to Focus on Conferences

Tina Brown, one of the magazine industry’s most well-known editors and founder of The Daily Beast, announced Wednesday that she is leaving the Web site to start her own conference company.

Her departure ends a partnership with her financial backer, Barry Diller, the chairman of IAC/InterActiveCorp, that began in 2008.

Ms. Brown said she would start Tina Brown Live Media, which will focus on building up the Women in the World conferences she has been organizing and running for several years. At a meeting with the Daily Beast staff Wednesday, Ms. Brown said that she would remain until the end of the year, when her contract expires.

“It has been wonderful to grow the Women in the World summit into such a powerful, independent brand within The Daily Beast, and now it will be even more exciting to see how it can expand and develop,'’ Ms. Brown said in a statement.

An executive with direct knowledge of the negotiations said Ms. Brown’s split from Mr. Diller was friendly, and that she had been saying for more than a month that she did not want to continue in such a stressful position into the new year.

News of Ms. Brown’s departure was first reported by the Web site BuzzFeed.

Ms. Brown and Mr. Diller came together in 2008 to launch The Daily Beast. But their relationship was put to the test in 2010 when Ms. Brown persuaded Mr. Diller to help support the storied but struggling Newsweek magazine and merge it with The Daily Beast. Even Ms. Brown’s best efforts to save Newsweek were soured by the struggling market for newsmagazines, and the magazine lost millions of dollars.

Mr. Diller complained publicly for months about his frustrations with Newsweek. Late in 2012, Ms. Brown announced that Newsweek would cease publishing a print edition. In May, Ms. Brown confirmed that the magazine was up for sale, and in early August Newsweek was sold to the digital news company International Business Times.

The news of Ms. Brown’s coming departure attracted rapid-fire attention on Twitter from the myriad people who follow the New York media world and have followed her over the past few decades as editor of Vanity Fair, The New Yorker and Talk magazine. Within minutes of its report, BuzzFeed posted on Twitter a photograph of Ms. Brown sitting alone in a Chelsea restaurant, reporting that she was “yelling into the phone.”

The photograph drew 53 retweets and more than a dozen comments mixed with sadness and schadenfreude. They ranged from “I don’t know what to say! I feel bad for her!” to “I seriously LOL’d at that photo and could imagine her screeching in my head.”

Ms. Brown’s challenges with running Newsweek presented more challenges for Mr. Diller, who had to decide whether to renegotiate her contract by year’s end.

It appears that Ms. Brown will continue to have some ties with The Daily Beast and IAC even in her conference business. She has been hosting the Women in the World conferences for the last three years along with Mr. Diller’s wife, Diane von Furstenberg, and Meryl Streep. She is taking her events group, which is headed by Kathy O’Hearn, from The Daily Beast to help her with her conferences.

In a statement issued by Ms. Brown, she said The Daily Beast will remain a media partner for the April 2014 conference.