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The prestigious recognition acknowledges the best covers worldwide. Media 10’s Icon is placed alongside titles including Vogue, The New Yorker and Forbes.

Icon’s Editor James McLachlan explained that the inspiration for the cover came from V&A Director Martin Roth’s final exhibition, Driven by German Design. It was held in Doha as part of the Qatar Germany Year of Culture, which “is perhaps the most significant display of modern German design ever assembled”, said McLachlan.

Icon’s Art Director Carlo Apostoli, Designer Morwena Smith and Photographer Felicity McCabe used a Dieter Rams-designed TP20 Radio for Braun as a symbol of German design prowess.

Rams is a German industrial designer who designed Braun's consumer products for many years.

McLachlan said, “The object is totemic, almost architectural in its appearance, but overlaid with the red, black and gold of the German flag.” Dark sand was then used to distort the black element of the flag.

The editorial concept and execution won the recognition of the SPD. Based in New York, the SPD is a global authority in promoting and encouraging excellence in editorial design.

“Often, the challenge we face on Icon is to convey complex ideas in a simple and eye-catching way. Here we achieved this by taking a very well-known Dieter Rams product and using it to construct a Bauhaus-inspired abstract art piece.

“It was a painstaking shoot with many permutations, but we really cracked it when we introduced the dark sand, which was not part of our original material palette. Carlo and I are delighted with the result," concluded McLachlan.

In 2017, Icon won global recognition from Coverjunkie with its Milano cover, illustrating IKEA’s presence at Salone Del Mobile, the Milan Furniture Fair, with an array of IKEA pencils.

Media 10 is an independent media and events company. It owns and runs events in the UK, China and South Africa, including the Ideal Home Show, Clerkenwell Design Week, Grand Designs Live and This Morning Live, as well as publications, including onoffice, Good Homes and Grand Designs magazines.

Jacquie Euwe (pictured left), Managing Director, Luxury, will add publisher responsibilities for Harper’s Bazaar and Town & Country to her Luxury sector remit in order to further drive the commercial development of Hearst’s leading brands in this genre.

Jacqui Cave, Managing Director, Beauty, will take on publisher responsibilities for Hearst’s leading beauty brands, ELLE and Cosmopolitan, with the remit to support these editorial teams. This is in addition to her role of driving effective commercial synergies for beauty advertisers across all of Hearst’s media brands.

Alun Williams, Managing Director, Health and Fitness, will take on additional publisher responsibilities for Esquire, supporting the Health and Men’s Lifestyle editorial teams and facilitating more integrated commercial opportunities.

They will report to Hearst UK’s CEO, James Wildman. The changes will become effective in March when Duncan Chater, Chief Brand Officer, joins Hearst Magazines Digital Media as Global Vice President.

Alun Williams

Commenting on the changes, Wildman said: “We are confident these organisational changes will deliver increased benefit generally and, in Jacquie, Alun and Jacqui, we have three of the very best publishers in the business to drive our multiple and extraordinary Luxury, Beauty and Health brands for our commercial partners.”

Jacqui Cave

Nicki Shields, FIA Formula E and pit-lane presenter, hosted the event, which awarded accolades in 13 categories.

The winners were as follows:

BEST INTERIOR (AND POSSIBLY EXTERIOR)

Bentley Continental GT

“Bentley’s challenge was to locate the sweet spot where high-tech intersects with fabulous luxury. Challenge met: the leather that swathes so much of the GT’s cabin has 310,675 stitches…Bentley has created a stunning environment.”

BEST SUPERNATURAL DRIVING EXPERIENCE

Rolls-Royce Phantom

“Rolls-Royce’s millennial reboot, the company airily declared back in 2003, was ‘the last great automotive adventure’. The all-new Phantom doubles down on that and then some – simply put, this beautiful machine does nothing less than reinvent the concept of car travel.”

BEST FLIGHTLESS PRIVATE JET

Marchi Mobile Elemment

“What do you get if you cross the design features and aerodynamics of a racing car, the opulence and comfort of a superyacht and the aeronautical beauty of a luxury aircraft? The answer will probably be the Marchi Mobile’s stunning Elemment range.”

THE TAKING THE LIMO TO THE NEXT LEVEL AWARD

Audi A8

“Not only is the A8 a luxury technological marvel, it’s also the first production car to feature ‘Level 3’ autonomy, which means it can take over the driving duties up to 37mph.”

THE CLIMB EVERY MOUNTAIN IN LUXURY AWARD

Range Rover Velar

“That it can cruise effortlessly through any urban landscape is a given, but when called upon, it can also conquer where mountain goats fear to tread. We love the new Velar. There, we said it.”

BEST WAY TO MAKE THE JUMP TO LIGHT SPEED (AND STOP JUST AS QUICKLY)

Bugatti Chiron

“When Andy Wallace, Bugatti’s chief test driver, told GQ that, ‘It really comes alive above 150mph,’ we wondered how many clients had their own private runway to test that. Paradoxically, the Chiron is so magnificently designed, engineered and made that it’s just as impressive at 0mph.”

THE TECHNOLOGICAL HEDONISM AWARD

McLaren 570S Spider

“The 570S Spider nails one simple but surprisingly elusive thing: that the nanosecond you climb out of the car, you want to get straight back in and do whatever you were doing all over again.”

THE MOST SUPER SUPERFAST SUPERCAR AWARD

Ferrari 812 Superfast

“There are no turbos here to interrupt the combustion process and the 812’s 6.5-litre engine, even from these Italian legends, really is a masterpiece.”

BEST USE OF ELECTRICITY SINCE THE LIGHTBULB

Jaguar E-Type Zero

“The E-Type is not only gorgeous to look at, but also good for the planet, after being retro-fitted with a zero-emissions, all-electric powertrain.”

THE VISION OF THE FUTURE AWARD

Vision Mercedes-Maybach 6 Cabriolet

“This all-electric, hyper-modern and stunning concept car not only shows design at its most ambitious, but also that it can be purposefully playful, with the interior featuring a pulsating, fibre-cabled ‘flux capacitor.’”

THE SCREAM IF YOU WANT TO GO FASTER AWARD

Volkswagen Up! GTI

“VW’s tiny city car was designed by the man now in charge of colouring-in at Ferrari and its transition from spirited to sportiness is deftly managed. The Up! is almost Apple-like in its minimalist surfacing and detail.”

LIFE AND SEOUL OF THE PARTY AWARD

Hyundai i30N

“This ferociously fun five-door rocket ship has been developed on the Namyang proving ground and the Nürburgring Nordschleife and, as a result, is giving the Focus RS, the Golf GTI and the Honda Civic Type-R a serious run for their money.”

BEST CUSTOM MOTORBIKE WE BUILT (OK, COMMISSIONED) OURSELVES

The GQ-Barbour International Triumph Thruxton R by Untitled Motorcycles

“The big question on GQ’s mind was: how do we decide on the best motorcycle of the year? Then we had an idea: why not build our own? A collaboration was born between GQ, Barbour International and Triumph Motorcycles. With the GQ man in mind, we wanted style, sophistication and a hint of rebellion in our bike design. But, of course, we couldn’t do that ourselves, so we gave the job to custom bike builder Adam Kay, the man behind Hampstead-based Untitled Motorcycles.”

Dylan Jones, Editor of British GQ, commented: “People in the car industry kept telling me that they found car awards boring – long, tedious, uninspiring. So, we thought we’d have a crack at producing one that wasn’t any of those things at all.

We’ve been running our car awards in GQ for over a decade, both in the magazine and online, with reviews, pictures, video, and scintillating text. This year we moved to a physical event and we are all very excited about it. Let’s hope no one thought it was boring, long, tedious or uninspiring.”

The winners of the GQ Car Awards 2018 were decided by the editorial team of British GQ. See the full feature, shot in the old printworks in London’s Wapping, in the March issue of British GQ, on sale February 8.

The spring issue will reveal a bigger and bolder look for the title in response to an increased demand for short stories among readers.

Sales of short story collections rose 45 per cent last year. More than 690,000 short stories and anthologies were sold in the UK in 2017, making these the highest sales since 2010.

The short story “Cat Person”, written by Kristen Roupenian and published in The New Yorker in December 2017, quickly became one of the most read stories on the site.

Popshot ‘s Editors selected 25 stories and poems from more than 800 submissions worldwide.

The Romance Issue offers a punchy look at a topical theme, calling for a Romance Renaissance. Laura Silverman, Editor of Popshot, said: “In the age of Weinstein and Tinder, romance is having a rough ride. We’re calling for its comeback. Our bright and bold issue conjures up a sense of yearning, promise and excitement.

“The flood of interest in romance during a tumultuous time shows a real and sustained desire for connection, passion and tenderness. When can a man approach a woman? Are apps a waste of time? Are all relationships doomed to fail? Without romance, the world would be a poorer, lonelier place.”

Issue 19 includes stories and poems about first love and secret affairs, deep longing and desperate heartbreak. It references all aspects of history and culture – from Tinder to Julius Caesar.

It also features an exclusive preview from Bad Romance, a new short story collection by Emily Hill, published by Unbound.

The birds of paradise cover was designed by illustrator Matt Harrison Clough.

Popshot is an illustrated magazine that publishes short stories, flash fiction and poetry from new literary talent. It has been released twice a year since 2009, but it will now be published quarterly to meet the rise in demand for short stories.

The Chelsea Magazine Company is a boutique publisher based on the King’s Road in Chelsea. It produces content for 17 special interest brands that are published in print and on multiple online platforms.

Now in its seventh year, the luxury bridal show is an event that brings the stylish content of Brides magazine alive for a weekend of wedding planning.

All things bridal will be showcased – from wedding gown designers, to florists, venues and photographers.

Simon Leadsford, Publishing Director of Condé Nast Britain’s Brides, commented: “We’re delighted to be working with the team at Ocean. They have a proven track record of delivering valuable audiences to their events and we’re very confident they can support the ongoing success of Brides The Show. We’re expecting a high-quality attendance and our best show yet in 2018.”

Ocean Media’s brands include the National Wedding Show, Confetti, Bridelux, White Gallery, London Bridal Week, the Harrogate Bridal Show and Bridal Buyer. The next edition of Brides The Show will run alongside the National Wedding Show from September 21-23 at Olympia London.

Zoe Jobson, Portfolio Director at Ocean Media, said: “Brides The Show is established as the go-to event for discerning couples planning a spectacular wedding. Co-locating the show with a national event in September will mean Olympia becomes the destination this autumn for all couples planning a wedding across London and the home counties. We’re thrilled to be working with Jade Beer, Editor-in-Chief of Brides, together with the hugely talented team there.”

Net debt has been reduced to £1.0m (2016: £17.3m) in the 12 months to 30 June.

Earnings before interest, tax, depreciation, amortisation and exceptionals stood at £2.6m (2016: £13.7m). This reflects an increased level of investment in the company’s technology infrastructure – specifically in the development of an ecommerce platform in the company’s Automotive division.

It also reflects a period of uncertainty in 2016 ahead of the outcomes of both the EU referendum and the US presidential election, which impacted on underlying trading performance in some sectors.

Haymarket operates in a number of international territories, including the UK, US, Asia, India and Germany, focusing on core content sectors across b2b and consumer markets, reaching highly affluent and highly engaged audiences. Motoring, Marketing Communications and Medical are among its principal market sectors.

Kevin Costello, CEO of Haymarket Media Group, said: “Our mission is to be the best specialist media company in our chosen markets, while ensuring we are transitioning the business for long-term sustainable growth. This set of results underlines real momentum in deploying our strategy –creating a balanced portfolio of diversified revenues in our chosen markets.

“Print remains an important platform for our loyal specialist audiences, but it is pleasing to note that almost two-thirds of total revenues now come from digital, data and live activity. Our content and technology-led approach means we are investing in innovative new revenue opportunities around paid content and events, as well as new ecommerce platforms – particularly in our Automotive division,” he continued.

In March 2017, Haymarket announced a major £50m investment in developing the digital and ecommerce potential of its Automotive brands, including What Car?, Autocar and PistonHeads, in a UK retail marketplace worth £85bn.

The leadership team has also focused on deleveraging the company’s balance sheet significantly – as a result of proceeds and profits from brand divestment – delivering a healthy net debt of £1m in the period.

Lord Heseltine, Chairman of Haymarket, commented: “Haymarket is a company with 60 years’ heritage. It is rightly renowned internationally for its powerful brands, serving vibrant market sectors containing millions of high value consumers and business professionals. These results reflect a strategy that positions us well for the future – investing in technology to build diversified revenue streams around a raft of new opportunities.”

The site’s content is focused on inspiring homes and design destinations, the latest decorating trends, best products, design classics and designer profiles. Its sleek design provides a premium experience for visitors and acts as an attractive environment for advertisers.

Livingetc.com was designed in-house by Time Inc. UK’s digital and editorial team, led by Digital Content Director Holly Boultwood.

Suzanne Imre, Livingetc Editor, said: “Livingetc is one of the UK’s most iconic interiors magazines. Launching a website that captures the essence of the brand is a natural progression to complete our 360-degree reach to deliver inspiring and useful interiors ideas to a savvy, design-loving audience.”

Sarah Rafati, Digital Business Director, added: “We know through the strong social media engagement with Livingetc that there is huge demand for modern interiors content online. The new site delivers to this customer need brilliantly – and its stylish, fully responsive design provides new and extensive opportunities for our commercial partners.”

The website is now live at www.livingetc.com.

Dennen joins Tatler from The Mail on Sunday, where he holds the position of Features Writer-at-Large. Prior to this, he was Style Writer for The Sunday Times and a columnist for the Evening Standard.

Albert Read, Managing Director of Condé Nast Britain, commented: “Richard Dennen was the standout candidate. A Tatler Editor must possess an almost impossible set of talents – an intuitive connection with the Tatler world, journalistic flair, wit, an appetite for rich, visual indulgence and an instinctive appreciation of fashion and luxury.

“With his remorseless energy and ambition, Richard possesses all these elements and more.”

The new Tatler Editor previously worked for the title for six years, rising up to the position of Editor-at-Large. Dennen has also consulted for the Cliveden Literary Festival and for the fashion brand Max Studio.

“I am thrilled to be returning to Tatler – the original social media. Having admired the way it has covered British society over the last three centuries, I can’t wait to continue that success story. The Tatler I edit will access an even wider world, featuring arresting and impossibly glamorous fashion and lifestyle,” added Dennen.

He takes over the role from Kate Reardon, who stepped down as Editor in December 2017. Dennen will take up his new position on February 12.

Wilson is currently an Assistant Editor at The Guardian and is responsible for global stories, including science, environment, health and technology and the organisation's philanthropically-funded editorial projects.

She previously worked as Editor-in-Chief for The Guardian’s Australia edition and was based in Sydney. Before that, she held various senior roles across both digital and print at The Guardian in London, including time as Features Editor, Digital Network Editor and as G1 Editor, managing the main news section of the paper.

Wilson commented on her new appointment: “I’m delighted and honoured to be joining the brilliant team at New Scientist. Science and technology have never been more important – the need to understand what is going on in the world of science has become ever more central to people’s lives. I think that this represents a huge opportunity for New Scientist and I can't wait to be part of the next chapter in its story.”

New Scientist was launched in 1956. Wilson’s appointment makes her the 11th Editor in the brand’s history and the first woman to hold the position.

New Scientist’s Publishing Director John MacFarlane said: “The role of Editor is pivotal, harnessing the passion, pride, creativity and excitement that already exist in our editorial team. I look forward to working with Emily to produce print and digital media that excite and engage a growing global audience.”

Wilson replaces Sumit Paul-Choudhury, who has been appointed as New Scientist’s Strategy Director. He is currently on sabbatical while he takes part in the Sloan Fellowship at London Business School.

As Deputy MD of Digital, he will continue to manage the Product and Commercial Operations teams, advancing his work to enhance Dennis’s commercial offering, product delivery and revenue diversification.

Flood has held his current position of Product and Commercial Operations Director since January 2017. He has been managing the Product, Ad Ops, Campaign Management and Programmatic teams.

He joined Dennis from CAP Automotive in 2014 as Lead Product Manager and then Head of Product Management. Flood has led a number of key digital projects, site launches and product development across buyacar.co.uk.

Flood commented on his new appointment: “Over the last four years I’ve had the privilege of working on some of the biggest consumer and in-market sites in the UK. I’m looking forward to helping shape Dennis’s future strategy as we develop, innovate and grow our digital businesses.”

Flood will join the Dennis Senior Management Team and the Digital Board, with a focus on strategic growth and innovation within the overall business.

His appointment will help accelerate Dennis’s strategy of revenue diversification and growth. Digital revenues were up 50% and reached £50m in 2017, accounting for 45% of the company’s revenue.

This was driven by buyacar.co.uk, which grew 100% year-on-year, affiliate revenues, which were up over 400%, and lead generation, which increased by 35%.

Pete Wootton, Managing Director of Digital at Dennis, said: “Nick is at the heart of our digital business and negotiates the editorial, commercial and UX requirements of our websites extremely well. He is also forward-looking and his work to combat AdBlock users across our properties has gained industry-wide recognition.

Nick will work with the Digital Board and myself to prioritise the digital teams' resources and focus on innovation and growth. He will also take on an increasing role in both the financial performance and strategy of the digital business.

I know Nick will bring loads of energy and enthusiasm to his new role and I'm confident that he will make a massive contribution to the continued success of the business.”

Flood will take on the new role with immediate effect.