Deborah Thomas
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Keynote Speaker
Deborah Thomas  After completing a degree in Fine Arts at Caulfield Institute (now Monash University), Victoria, Deborah left Australia to discover the world. To finance two years in Europe Deborah turned to full-time modelling, a previously part-time occupation that had helped fuel the student budget at art school. First stop in 1978 was Paris, and a regular job modelling haute couture fashion for Givenchy. Other clients during this time included the house of Balenciaga, the photographer Helmut Newton and Pierre Cardin.After returning to Australia in '81 Deborah was offered a position at NIDA to study theatre design. While at NIDA she was contacted to take up the position as Head of Graphics for Crawford Productions. During her four years in television, Deborah was responsible for designs for shows such as Carson's Law, The Sullivans, All the Rivers Run, as well as all presentations for new shows. In 1985, a move to Sydney meant a change in direction. Her first job was as an art director/copy writer with a small fashion-advertising agency, Cation Creative Direction. This unique agency was responsible for special advertising promotions for The Australian Wool Corporation, Rodney Clark and Fletcher Jones. While working in advertising, Cleo editor, Lisa Wilkinson, who knew of Deborah's work in the fashion industry, offered Deborah the job of Beauty and Lifestyle editor of Cleo (May 1987). Three years later (May 1990) Deborah was promoted to Deputy Editor. During her time there, supporting Lisa, the magazine's circulation broke all records further strengthening its position as the number one selling lifestyle publication (per capita) in the world. In August 1992, ACP Publisher Richard Walsh offered Deborah the editorship of Mode. The first issue (October/November) immediately reflected Deborah's style and was a sellout. Subsequent issues exceeded expectations. Over the two years MODE's sales grew 25 percent, up from 37,419 in '92 to 46,500. Meanwhile advertising revenue increased by 33 percent. In August 1994 Deborah became editor of ELLE Australia and consolidated the magazine's position through a frenzied period of rival magazine launches. In July 1997 she was appointed editor of CLEO with a brief to arrest and revive the magazine’s falling circulation and advertising revenue. During this period the magazine has not only maintained its number one position but has experienced three consecutive circulation increases and two readership increases (June ’98 – July ’99) despite the recent successful launch of a direct competitor in B magazine. In September 1999 Deborah was appointed editor of The Australian Women’s Weekly, Australia’s highest selling magazine and a national icon. Her brief: to make the magazine more contemporary without alienating traditional readers. In July 2001, The Australian Women’s Weekly announced its first circulation increase in four years. May, 2002, The Australian Women’s Weekly scooped the pool at the Magazine Publisher’s of Australia Awards ( the magazine equivalent of the Oscars). The awards included Magazine of the Year 2002, General Excellence ( News and General Interest), as well as two advertising awards. Deborah received the highest accolade, Editor of the Year. In March 2004 Deborah was appointed Editor-in-Chief of The Australian Women’s Weekly magazine and the Australian Women’s Weekly Books division. In March 2005 she was promoted to Editorial Director responsible for all aspects of the magazine and this iconic brand. May 2005 The Australian Women’s Weekly announced it’s third consecutive readership increase consolidating it’s position as the most read magazine in the world.  |
