In October 1933, a magazine called Esquire hit newsstands with a bold promise to redefine what it meant to be a man, yet its survival was far from guaranteed. The publication emerged from the ashes of a trade magazine called Apparel Arts, which had been struggling to find its footing in a market dominated by dry industry journals. Three men with vastly different backgrounds banded together to create something new: Arnold Gingrich, a publishing visionary; David A. Smart, a businessman with a sharp eye for profit; and Henry L. Jackson, a fashion editor with a penchant for style. Their collaboration was not without friction, as Jackson's Republican political views clashed with Smart's liberal Democratic leanings, creating a unique editorial environment where debates between opposing ideologies were not just tolerated but encouraged. This tension became a defining feature of the magazine's early identity, allowing it to publish content that challenged the status quo while maintaining a sophisticated tone. The magazine's initial print run was set at a modest one hundred thousand copies, priced at fifty cents, but the demand was so overwhelming that by the second issue in January 1934, Esquire had already transformed into a more refined periodical, shifting its focus to men's fashion and high-quality literary contributions. Writers like Ernest Hemingway, F. Scott Fitzgerald, and André Gide began to grace its pages, signaling a new era of intellectual engagement for a male audience that had previously been ignored by the mainstream press. The magazine's headquarters moved from Chicago to New York City, reflecting its growing influence and ambition to become a cultural force rather than just a fashion guide. This early period laid the groundwork for a publication that would eventually become a cornerstone of American journalism, blending style, literature, and politics in a way no other magazine had done before.
Pinups And Political Fire
By the 1940s, Esquire had become a battleground for the nation's cultural and political values, with its circulation soaring thanks to the popularity of the Petty Girls and Vargas Girls, pinup illustrations that became a lifeline for American soldiers during World War II. These images, created by artists like Alberto Vargas and George Petty, were not merely decorative; they were a form of resistance and morale-boosting for troops stationed overseas, and they brought the magazine into the spotlight of national controversy. In 1943, the Democratic United States Postmaster General Frank Comerford Walker brought charges against the magazine, alleging that Esquire had used the US Postal Service to promote lewd images, a move that sparked a legal battle that would reach the United States Supreme Court. The case, known as Hannegan v. Esquire, Inc., 327 U.S. 146 (1946), became a landmark decision that affirmed the magazine's right to use the Postal Service under the First Amendment, setting a precedent for the freedom of the press in the United States. The controversy also highlighted the magazine's ability to navigate the fine line between entertainment and censorship, as it continued to publish content that challenged societal norms while maintaining a loyal readership. During this period, the magazine's editorial team, including Harold Hayes, who would later become a key figure in the New Journalism movement, began to experiment with new forms of storytelling and visual design. The magazine's oversized pages, which were a hallmark of its identity, allowed for a more immersive reading experience, and its content began to reflect the changing times, with a growing emphasis on political and social issues. The magazine's ability to balance its fashion and literary roots with its political and cultural commentary made it a unique force in the American media landscape, and its influence would continue to grow in the decades to come.
In the 1960s, Esquire became the epicenter of the New Journalism movement, a literary revolution that blurred the lines between fact and fiction, and that would redefine the way stories were told in American magazines. Under the editorship of Harold Hayes, who ran the magazine from 1961 to 1973, Esquire published the work of writers like Norman Mailer, Tom Wolfe, and Gay Talese, who used the magazine as a platform to experiment with new forms of narrative. The magazine's pages became a canvas for writers who sought to capture the essence of the era, with stories that were as much about the writer's voice as they were about the subject matter. The magazine also began to publish fiction that was as compelling as its nonfiction, with writers like Richard Ford and T. Coraghessan Boyle gaining recognition through their contributions to Esquire. The magazine's influence extended beyond the written word, as it began to publish music and art that reflected the cultural shifts of the time. In 1969, the magazine published Normand Poirier's piece, An American Atrocity, one of the first reports of American atrocities committed against Vietnamese civilians, a story that would later become a key part of the public discourse on the Vietnam War. The magazine's willingness to tackle controversial topics and its commitment to literary excellence made it a favorite among writers and readers alike, and its influence would continue to grow in the decades to come. The magazine's ability to balance its fashion and literary roots with its political and cultural commentary made it a unique force in the American media landscape, and its influence would continue to grow in the decades to come.
The Fiction Editor And The Mystery
In 1969, Gordon Lish, known as Captain Fiction, took over the role of fiction editor at Esquire, and he would go on to shape the magazine's literary identity in ways that would be both celebrated and controversial. Lish was known for his ability to discover and nurture new talent, and he played a key role in establishing the careers of writers like Raymond Carver and Richard Ford. His editorial style was often criticized for its heavy-handed editing, but his contributions to the magazine's literary reputation were undeniable. In 1977, the magazine published an unsigned story titled For Rupert , with no promises, which led to widespread speculation that it was the work of J. D. Salinger, the reclusive author of The Catcher in the Rye. The story, which featured events and names from Salinger's Glass family series, was later revealed to be a fabrication by Lish, who had attempted to mimic Salinger's voice and psychological circumstances. The incident, which was later described by Lish as an attempt to deepen the complexity of Salinger's fiction, became a part of the magazine's lore and highlighted the lengths to which editors would go to create a sense of mystery and intrigue. The magazine also continued to publish fiction that was as compelling as its nonfiction, with writers like T. Coraghessan Boyle, Barry Hannah, and Cynthia Ozick gaining recognition through their contributions to Esquire. The magazine's ability to balance its fashion and literary roots with its political and cultural commentary made it a unique force in the American media landscape, and its influence would continue to grow in the decades to come.
The Decline And The Rebirth
By the 1990s, Esquire had fallen on hard times, with its circulation declining and its relevance to younger men waning. The magazine, which had once been a beacon of intellectual and cultural sophistication, was struggling to find its place in a rapidly changing media landscape. The arrival of male-oriented lifestyle publications during the early 1990s, combined with the problems of the magazine industry during the middle of the decade, led to a sustained decline in circulation that threatened the future of Esquire. The magazine, which had relied upon an elegant, highly-literate audience, did not appeal to younger men, and its traditional format was becoming less relevant in a world that was increasingly digital. In 1997, David M. Granger was named editor-in-chief of the magazine, fresh from a six-year stint at GQ, which he had turned around from its fashion-heavy tradition. Granger's arrival marked a turning point for the magazine, as he began to revamp its content and style, focusing on a more lifestyle-heavy approach that would appeal to a broader audience. The magazine received numerous awards, including multiple National Magazine Awards, and its staff writers, including Tom Chiarella, Scott Raab, and Mike Sager, became known for their high-quality journalism. However, the magazine under Granger became increasingly criticized for its focus on the so-called metrosexual culture, a criticism that he had previously faced late in his GQ tenure. In 2016, David Granger stepped down, being replaced by Jay Fielden, who revamped the magazine into its more classical up-market style. At the same time, its political coverage became more comprehensive, following a trend among American magazine publications in general. After a series of shake-ups at Hearst's magazine division, Michael Sebastian became editor in mid-2019, reverting to its 2000s-era style. The magazine's ability to adapt to changing times and its commitment to literary excellence made it a unique force in the American media landscape, and its influence would continue to grow in the decades to come.
The Sexiest Woman Alive
In 2003, Esquire launched its annual Sexiest Woman Alive feature, a tradition that would become one of the magazine's most iconic and controversial elements. The feature, which consisted of a photoshoot and profile of the winning woman, was originally part of the Women We Love issue that had appeared yearly since 1988, and it was initially titled Woman of the Year. The magazine would tease the public with partial images of the woman in the issues preceding the November issue, building anticipation for the reveal. By 2007, the feature had become the dominating story of the issue, and the hints were abandoned to create an element of surprise. The feature was criticized for objectifying women, with some critics arguing that it used rapt, creepy, overheated language to say practically nothing about the subject, except that she was impossibly beautiful. The magazine's approach to the feature, which included a list of winners from 2004 to 2015, including Angelina Jolie, Jessica Biel, and Scarlett Johansson, became a part of the magazine's cultural legacy, and it sparked debates about the role of women in the media. The feature was discontinued in 2015, but its impact on the magazine's identity and its relationship with its readership remained a subject of discussion. The magazine's ability to balance its fashion and literary roots with its political and cultural commentary made it a unique force in the American media landscape, and its influence would continue to grow in the decades to come.
The Global Esquire
Today, Esquire operates 23 international editions, with publications in countries ranging from Australia to Vietnam, and from Brazil to the United Kingdom. The magazine's global reach is a testament to its ability to adapt to different cultural contexts while maintaining its core identity as a men's lifestyle publication. The magazine's international editions, which include Esquire Australia, Esquire Brazil, and Esquire España, have become important platforms for local writers and artists, and they have helped to expand the magazine's influence around the world. The magazine's ability to balance its fashion and literary roots with its political and cultural commentary made it a unique force in the American media landscape, and its influence would continue to grow in the decades to come. The magazine's international editions, which include Esquire Australia, Esquire Brazil, and Esquire España, have become important platforms for local writers and artists, and they have helped to expand the magazine's influence around the world. The magazine's ability to balance its fashion and literary roots with its political and cultural commentary made it a unique force in the American media landscape, and its influence would continue to grow in the decades to come.