Vogue.com is an extension of the Vogue brand, not a repeat

What is the biggest challenge in online-publishing today?

The challenge is the same as it has always been – to gain and maintain a reputation for reputable, trusted journalism in a medium which has endless potential for the opposite. For us, the competition is far wider than it once was – our challenge is to stay in front in terms of technical, design, editorial and fashion.

How much has online-publishing taken away from traditional modes?

This is a constant debate – there is no doubt that the immediacy and availability of the internet has sidelined some more traditional print publications – it is a challenge both in terms of readership and commercial revenue for some magazines.

However, with Vogue we are in a different league. Reading Vogue is a pleasure that people look forward to. Each issue is a timeless document that reflects the world we're living in – you only need to read early issues (British Vogue launched in 1916), to see how it acts as a visual timeline of society.

Each has a collectable attraction that fans will never give up in favour of the internet. Vogue.com provides a daily dose of that fashion addiction, plus we can expand upon the content that the magazine offers. Without that magazine, there wouldn't be a brand for us to expand upon – so no, for Vogue, online publishing will not take over completely.

How much original content is generated by Vogue Online vis-à-vis the magazine? Is there a deliberate attempt to differentiate them?

While we consider the website to be Vogue magazine's strongest PR tool, we cannot replicate the content in the magazine. We offer the world's most trusted, comprehensive fashion news service every day – an extension of the Vogue brand but not a repeat of it. The photography in Vogue cannot be enjoyed in the same way on a computer screen. Obviously we support each issue with complementary content – we interview the editors every month for VogueTV; we animate a fashion shoot from each issue to create incredible moving fashion images; and of course we house the cover archive – more than 90 years of fashion images from Vogue searchable by photographer, date and model.

Will investment in online advertising rival that of print?

When I began working at vogue.com, in January 2000, designers wouldn't even let us into their catwalk shows – let alone consider advertising on the site. Our revenue came from technology companies and other websites – many of which no longer exist. By 2002, we had Gucci and Burberry and from there the momentum hasn't slowed. Vogue.com is now the only site on which you can find advertising from some of the world's biggest luxury labels, as well as the first place that relatively new advertisers – such as British shoe designer Rupert Sanderson – choose to debut their online campaigns. The increased interest is in part due to the fact that each campaign is bespoke to the client and discussed and designed on an individual basis. Online advertising certainly rivals that of print these days – clients realise that they need a website to survive on the international retail stage – their customers expect it – and therefore they need to advertise online to capitalise on their online potential.

How has the advent of new media affected journalism as a profession?

The immediacy of the internet requires fast, efficient, constant updates from journalists who want to stay ahead of the extensive competition. With the "free-for-all" reputation of the internet, fact-checking is more important than ever to maintain a reputation for truthful story-telling. And enormous word counts don't work on a computer – journalists need to be able to get their point across as succinctly as possible.

What will you be speaking about at at the forthcoming PR Congress?

I've been asked to talk about the growth of vogue.com and how we've managed to maintain our niche, high fashion image despite taking on the massive potential of internet readership – and about how the internet has embraced and expanded the fashion industry. The accessibility of the internet meant that it wasn't at first associated with luxury, aspirational living. Vogue.com has proved that isn't the case.

Can you outline some future trends?

This winter will be relatively sober – the financial state is often reflected in fashion choices: Hemlines are longer when a recession hits. However, designers are still entertaining us – bright red dresses and lace panels in daywear will cheer everybody up. And, in fact, there is a strong theme of British heritage that will stay strong for a couple of seasons to come. London is being held up higher than ever as the place to find new world talent.

Have you ever been to Dubai? What are your impressions about the UAE?

I have never been – I can't wait. My impression from friends who have been is that it is incredibly luxurious and very modern, cosmopolitan in attitude – and very clean.

PROFILE: Dolly Jones, Editor, Vogue Online

After studying History of Art at Manchester University, then Periodical Journalism at the London School of Arts, Dolly Jones joined Vogue on work experience.

That turned into six months work as an editorial assistant, after which she took up a role as a writer for vogue.com to work with the then editor Abigail Chisman.

Five years later in 2005 they won the Webby Award for the world's best fashion website – Chisman and Jones travelled to New York to collect the prize – and Jones was named editor of the site.

In 2006, the same year that VogueTV was launched as a section of vogue.com, she was named Magazine Website Editor of the Year. The site was relaunched in May 2008.

Jones was born in Omagh, County Tyron, Northern Ireland and brought up in Hampshire. She now lives in south west London.

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