LaIsha

Foundation and early years

The first issue appeared in January 1947 in Mandatory Palestine as Yedioth Ahronoth – La'Isha, a four-page weekly supplement sold with Yedioth Ahronoth. A retrospective published by the magazine in 2004 reported an initial print run of 200 copies and a price of 20 Palestine mils. The opening editorial promised practical information about household management, family budgets, nutrition, childcare, sewing, fashion, health and beauty, alongside discussion of women's participation in public and cultural life. On 23 July 1947, it became a separately sold publication, subtitled "a popular weekly for the home and family". The editorial of that issue stated that the magazine would reflect the particular roles and problems of women in the Hebrew-speaking public. Early editorials mixed practical advice with views on readers' way of life: one in 1948 advised women in small apartments not to pursue cleanliness at the expense of their peace of mind, and another that year warned readers against submitting to the dictates of Paris fashion.

The founder and first editor-in-charge was lawyer Hemda Nofekh-Mozes, who remained associated with the magazine until her death in 1989. Her legal-advice column, Bisvakh Hamishpat ("In the Tangle of the Law"), addressed legal and social questions affecting readers. Day-to-day editing was initially undertaken by Aharon Shamir, who served until 1952, followed by David Krasik, who remained editor until 1979.

Early departments covered mothers and children, dressmaking patterns, beauty, children's health and cooking, together with interviews and personal stories. A retrospective published for the 4,000th issue also mentioned the features "Figure of the Week" and "These Women", a knitting column and children's photography contests. The advice column Tevat Do'ar ("Mailbox"), established in January 1947, offered confidential responses from a lawyer, educator, physician and experienced woman. Questions about children, relationships and sexuality helped establish the magazine as a source of personal guidance.

Historian Sharon Geva found that its 1950s coverage gave unusual prominence to individual women Holocaust survivors. Interviews and first-person accounts identified the women by name and included their photographs, treating the Holocaust as part of an individual biography rather than primarily as a political controversy or collective narrative. This approach nevertheless frequently framed survivors through motherhood, family life and victimhood. The magazine gave extensive coverage to Rina Weiss, a survivor of Bergen-Belsen who represented Israel at the Miss World contest in 1956, and published her first-person account of the camp that year. In 1961 it ran a series titled "The Women behind the Eichmann Trial", including an interview with Yehudit Hausner, wife of the prosecutor Gideon Hausner, and at the end of the trial it conducted a street poll of women only.

During the 1950s, La'Isha was Israel's principal commercial women's paper. Would-be competitors such as Hava, La'Isha ve-la'Ofna (first issue January 1955) and Olam ha-Isha ha-Tse'ira (April 1956) were short-lived, some closing after a single issue. In December 1952, Davar HaPoelet, the women workers' journal, published a critique of the magazine's emphasis on body care.

Early statehood and social change

During Israel's early years, the magazine addressed everyday life under austerity, family, health, employment and consumption. It also promoted public initiatives associated with constructing an Israeli female identity, including Miss Israel, a national homemaker competition and the introduction of Mother's Day into Israeli public life. The first Miss Israel competition took place in 1950, following Nofekh-Mozes's initiative.

During the Six-Day War, La'Isha encouraged readers to contribute to the war effort. The delayed 1967 beauty pageant, ultimately held in Jerusalem, was presented as part of the celebration of victory.

In the early 1970s, it sympathetically covered poverty, housing shortages and discrimination against female factory workers, sometimes criticising government policy. Although it did not cover the militant demonstrations of the Israeli Black Panthers, it supported their objectives and included women associated with the movement among its "women of the year"; the 1971 list was headed by "the Israeli woman struggling with economic hardship". Its coverage largely overlooked the protest's Mizrahi ethnic dimension. A later study contrasted this reporting with its much narrower coverage of the 2011 Israeli social justice protests.

Studies of the 1970s found that domesticity and motherhood remained dominant ideals, alongside emerging representations of independent and critical women. An analysis of articles published between 1967 and 1977 found that the magazine encouraged paid employment for women, including mothers, while presenting several competing understandings of women's work and the division of responsibilities within families.

From the 1980s onward

Zvi Elgat succeeded Krasik in 1979 and edited the magazine until 1996. An obituary published by Ynet in 2008 stated that under his editorship the magazine reached unprecedented circulation and became the most widely distributed weekly in Israel. According to Geva, by the late 1980s it had about 600,000 readers and was the most widely read weekly in the country. Coverage expanded to careers, education, relationships, health, consumer affairs, culture and leisure, while fashion, food and family remained central. A retrospective of milestone issues documented the combination of celebrity and entertainment coverage with articles about women in management, domestic violence and an illustrated self-defence course.

Elgat described his guiding editorial principle as choosing material that would engage the curiosity of readers of different ages. Journalist Irit Brenner, who joined the staff in 1993, later recalled his mentoring in writing concise personal columns.

In the late 1980s, the entertainment weekly Pnai Plus began as a supplement to La'Isha before becoming a separate magazine within the Yedioth Ahronoth group.

In August 1996, Iris Zohar-Pinhasi became the first woman to oversee the magazine's daily editing, serving until 1999. During her tenure, the relationship between advertising and editorial content attracted criticism. In 1997, the media journal The Seventh Eye criticised the integration of products and advertisers into articles; Zohar-Pinhasi and the magazine's marketing staff defended consumer information as a service sought by readers.

Orna Nenner became editor-in-chief in June 1999. She described her approach as combining enjoyable reading with practical information, investigative reporting and women's advancement. A 2004 article reported that her staff numbered about 100 and that she changed both the content mix and the graphic design; the removal of the knitting columns drew complaints from readers. The 3,000th issue, in October 2004, was produced as a special album-format edition. Personal features and articles about careers, relationships and the division of household work became more prominent. She also introduced the column "A Room of One's Own" and articles on the economic value of housework. The column Hamichtav Shelo Nichtav ("The Unwritten Letter"), which she had founded in the newspaper supplement Zmanim Moderniyim and brought to La'Isha in 1999, published genuine letters addressed to people with whom readers had left something unsaid.

Under Karina Shtotland (2014–present)

In 2014 Karina Shtotland succeeded Orna Nenner, who had edited the magazine for 15 years, as editor-in-chief. She had previously edited Yedioth Ahronoth's lifestyle supplement Zmanim Moderniyim for about six years and, before joining the group, had worked at magazines including At.

Under her editorship the magazine expanded its coverage of obstacles to women's participation and advancement, including violence, employment discrimination, prostitution, single parenthood and women's health. The jury of the Sokolov Award, which she received in 2021, cited this expansion of the magazine's coverage of barriers to women's integration in society and in the home. According to Ynet, she was the first editor of a women's magazine to receive the prize since its establishment in 1956.

Several editorial decisions in this period concerned how the magazine addressed its readers. In October 2017 Shtotland announced that it would address readers in the Hebrew feminine plural instead of the masculine plural conventionally used for general audiences, while keeping inclusive forms in the food and children's sections so as not to imply that housework and childcare were women's responsibilities alone. In a 2019 column she described meetings at which some subscribers asked for only uplifting content, and argued that alongside its leisure material the magazine had a responsibility to address violence against women; the editorial team also ran a website on the subject, Lo Merimot Yadayim. In a 2021 interview she said she saw no contradiction between feminism and an interest in fashion; the interviewer listed among the magazine's projects one on involved fatherhood and the balance between work and family.

The period also included the cover project "You Will Not Rape Us into Silence" (2016), the black helpline cover (2021), the first cover addressed to violent men (2022) and the permanent printing of the helpline number on the magazine's spine from 2025; the 2021 cover and the 2025 initiative received international advertising awards. A study of the magazine's coverage during the first year of the Gaza war, however, argued that it largely avoided institutional criticism and retreated from the feminist perspective that had previously characterised it.

For its 75th anniversary in 2022, the magazine launched a searchable online archive of nearly 4,000 covers dating from 1947, accompanied by articles about their history. Its 4,000th issue followed in 2023, with a retrospective tracing its development from a small publication focused on homemaking, thrift and grooming into a broader magazine covering personal stories, society, culture, health, sexuality, careers and fashion.

Service journalism and public affairs

La'Isha combines interviews, features and personal narratives with recurring coverage of fashion, beauty, food, health, family life, relationships, travel, culture and consumer affairs. Scholars have described its editorial identity as containing competing ideas about femininity: domestic and family responsibilities appear alongside women's economic independence and participation in public life.

Einat Lachover's research on social protest identified the personal story as a means of connecting readers to wider political and economic questions. In the early 1970s, accounts of families experiencing poverty, housing campaigns and factory workers included discussion of pay discrimination, promotion and trade-union representation. Her comparison with the 2011 Israeli social justice protests found a more restricted civic role in the later coverage. A separate study of the 2011 protests reported that the magazine sent six of its writers to protest encampments and streets, publishing their personal columns in its issue of 8 August 2011; the study found that coverage was confined to that issue and centred on the writers' personal experiences, and concluded that commercial women's magazines offered only limited political discussion.

Changing representations of women

Early departments focused on motherhood, childcare, beauty, sewing patterns and cooking. This domestic emphasis coexisted with profiles of working and public women and discussion of rights in legal advice and readers' letters. Moran Pollack's analysis of issues from 1970, 1973, 1977 and 1980 found continued emphasis on family and appearance, but increasing coverage of women entering occupations conventionally associated with men, unequal pay and hiring discrimination. A 1977 feature about single Israeli women aged 25–35 discussed personal freedom, cohabitation and relationships without treating marriage as an immediate goal. More independent representations nevertheless coexisted with stereotypes centred on women's appearance.

A study of the magazine's discussion of paid employment in 1967–1977 identified elements of both liberal and socialist feminism. It found that La'Isha encouraged women, including mothers, to enter paid work and addressed gender and class inequality, while continuing to assign women primary responsibility for the home and children.

Social-group representation has also been studied. Yulia Shevchenko and Lachover analysed a March 2020 special issue about women who immigrated from the former Soviet Union as children or adolescents, often described as the “1.5 generation”. They identified discourses of nationality, Russianness, becoming Israeli and immigrant success, interpreting the issue as combining neoliberal feminism with a traditional gender and ethnonational order. Their findings concerned this particular issue rather than the magazine's entire coverage of post-Soviet immigrants.

Lachover's study of coverage during the first year of the Gaza war examined 51 issues, 489 feature articles and more than 1,000 shorter departmental items. It found that the magazine integrated stories of war and bereavement into lifestyle coverage, discussed the gradual return to everyday subjects with its readers, and adopted patriotic framing that emphasised resilience and women's military participation. Lachover argued that this public role was accompanied by limited institutional criticism and a retreat from the magazine's earlier feminist perspective.

Structure and regular features

Food and recipes

Recipes have appeared since the magazine's early issues. According to its food editor, Ayelet Hirschman, recipes in the 1940s were published without bylines or photographs and assumed prior knowledge; by the 1950s they addressed the reader in the feminine form, and in the 1970s some included step-by-step photographs. She also described the recipes as reflecting national circumstances, from post-war austerity to periods of abundance, and changes in the availability of ingredients such as butter. During the Yom Kippur War in 1973 the magazine published instructions for knitting hats for soldiers and recipes for wartime meals. In 2009 Yedioth Books published Ugat Ha-Shavua ("Cake of the Week"), a selection of 55 recipes from the magazine's long-running baking column, edited by Hirschman.

Health, parenting, books and service departments

Alongside fashion and food, the magazine has run departments on health, parenting, books and consumer affairs. In 2011, after health editor Tali Rozin left following seven years, Gilat Drorani was appointed health editor and Miki Maltz books editor; both had previously worked on the parenting section. Health subjects also appeared in investigative features, such as one on the overuse of medication in the mid-1970s.

Relationships, sexuality and readers' letters

Readers' letters and advice columns established a continuing exchange between the audience and the editorial staff. The 1947 Tevat Do'ar (“Mailbox”) column invited women to share personal problems and promised confidentiality. Its successors discussed family life, adolescents and intimate relationships. Later columns included “This Is My Problem”, “Stories from Life” and “The Unwritten Letter”, combining practical advice with first-person accounts. In the 2020s the magazine's website has also carried Yifat Menhardt's personal column Status: Grusha ("Status: Divorced"), about dating and relationships after divorce.

According to Yoav Kaniyas's history of sexuality in the Israeli press, the magazine's treatment developed gradually. It surveyed attitudes to sex education and discussed the Kinsey report on female sexuality in 1953 within a framework emphasising marriage and family. Gynaecologist Yair Gabor's mid-1960s medical column addressed contraception, sexually transmitted infections and premarital advice. More explicit writing on sexual pleasure followed in the 1970s, with increasingly professional and open discussion in the late 1970s and 1980s, including contributions from Ruth Westheimer and Daniel Lombroso. Kaniyas linked the change both to the sexual revolution and feminism and to the commercial appeal of intimate subjects.

In a further study, Yoav Kaniyas identified cooperation between La'Isha, At and sexology specialists during the 1980s. He distinguished explanatory reporting, personal interviews presenting experts as authoritative but accessible figures, and regular advice columns. He argued that these formats helped legitimise public discussion of sexuality while also serving commercial interests. In the second half of the decade, growing attention to AIDS shifted the emphasis from sexual satisfaction towards relationships, risks and prevention. The findings concerned the specialised press examined in the study, including La'Isha, rather than every article in the magazine.

Former editor Zvi Elgat recalled in 2004 that, during some periods, the weekly “Foreign Conversations” department also reproduced photographs of topless women from foreign magazines and attracted readers among soldiers.

The personal tone was also part of the magazine's marketing. A 1997 campaign used the slogan “La'Isha is like talking to a friend”. Globes contrasted this accessible positioning with the more fashion-oriented and elite image attributed to rival magazine At. The exposure survey cited in that report recorded 28.1% for La'Isha and 19.4% for At; the figures describe the survey reported at that time.

Fashion and beauty

Fashion and beauty coverage has ranged from practical guides and sewing patterns to reporting on trends, fashion shoots and cover photography. Historical accounts and the magazine's cover archive document a shift from home sewing, economy and adapting existing clothes to professional productions involving designers, photographers, models and celebrities.

Photographer Yaki Halperin was a recurring contributor to its visual identity. The photography documentation centre at the Eretz Israel Museum credits him with hundreds of fashion photographs, chiefly for La'Isha, and records his nickname “king of the covers”. His first cover for the magazine featured Rina Mor in 1979; later subjects included Galit Gutman, Amit Machtinger, Shirley Bouganim and Ofra Haza.

Designer Yaron Minkowski recalled sending garments to the magazine early in his career and having his designs featured on more than 40 covers. He described publication in the magazine, before the advent of social media, as a source of customers and career exposure.

Cover production also involved styling and art direction. Photographer Mula Eshet and stylist Dalia Eshet produced dozens of covers for La'Isha and Zmanim Moderniyim. In a 2016 interview, Dalia described combining garments supplied by designers with specially collected accessories to develop visual narratives. Her work also involved selecting images from film contact sheets.

The magazine's recurring swimwear issues connected its fashion photography with the Miss Israel pageant. In a 2020 retrospective of covers featuring pageant winners, designer Tamara Yovel Jones characterized 1960s styling as formal and carefully groomed. Gideon Oberson identified floral prints and pop influences in 1970s covers and a sportswear aesthetic in the 1980s. The retrospective featured work by photographers including Sami Ben-Gad, Ben Lam and Shmuel Yaari.

In a 2011 interview, photographer Eitan Tal described pitching ideas to fashion editors Dorit Bachar-Solel and Merav Frank-Hochberg before choosing models and a production team. He described editorial fashion shoots as collaborations among the photographer, stylist and producer, with the visual direction coordinated with the editor.

In the 21st century, editors have also presented some fashion and cover productions as interventions in debates about body image. In a 2024 retrospective, Karina Shtotland described the inclusion of women of different ages and sizes alongside models and beauty queens. She cited Keren Peles's 2016 swimsuit cover as an example of self-acceptance after childbirth.

Covers

According to the magazine's retrospective account, early covers featured soldiers, teachers and factory workers associated with the image of the new Israeli woman. Beauty queens and models subsequently became more prominent, followed from the 1980s by actresses, singers, journalists, athletes and businesswomen. The cover subject also increasingly became the subject of the issue's principal interview, rather than being selected mainly for a photograph and sometimes identified only by name.

Some covers addressed public issues, including the 2016 “You Will Not Rape Us into Silence” project, a photograph of Eylon Nuphar following a double mastectomy, and covers featuring survivors of violence.

The digital cover archive provides searches by year, person and tags and a timeline of 75 selected covers. Digitisation also revealed gaps in the magazine's documentation: some early photographs lacked a full identification of their subjects or photographers, leading the editorial staff to ask the public for assistance.

Other covers drew criticism. In December 2018, the hosts of a 103FM radio programme criticised the magazine for devoting a cover story to a haircut of actress Rotem Sela, arguing that in the era of the #MeToo movement a women's magazine should address more substantive issues.

Miss Israel

Hemda Nofekh-Mozes conceived the Israeli beauty pageant in 1949, and the first competition took place in 1950. According to a 2004 retrospective, the magazine's first call for entrants went unanswered; the editors then printed photographs of foreign models as though they were candidates, and the following week received many photographs of young Israeli women. Miriam Yaron, who was married and had an infant child, became its first winner. Archival film shows the inaugural ceremony before a large audience; during the 1950s, the events combined entertainment with sponsorship by cosmetics companies and the magazine.

Historian Julie Grimmeisen interpreted the pageant as a new public arena for the celebration of women's bodies. In her account, the beauty queen offered the young Israeli society an image of glamour and modernity that existed in tension with the female pioneer and the collective ideals of work and sacrifice. For more than seven decades, La'Isha introduced contestants and covered the finals, featuring winners in interviews, fashion shoots and cover stories. Winners represented Israel internationally: Rina Mor won Miss Universe 1976, and Linor Abargil won Miss World 1998. The selection of Rana Raslan in 1999, the first Arab Israeli winner, and Yityish Aynaw in 2013, the first winner of Ethiopian origin, also attracted attention to questions of representation and belonging.

The finals were broadcast live on television from the 1990s. In 2015, the magazine moved the competition to a digital format with Ynet, seeking a younger audience as the traditional format lost relevance. Contestants were introduced in videos, viewers participated in voting, and the final was streamed online. Campaign representatives told Globes that approximately half a million people watched the live stream.

The pageant was also criticised for objectifying women and promoting a narrow ideal of beauty. The debate appeared within the magazine itself, where the competition was discussed both as a route to professional opportunities and social mobility and as a "meat market". Grimmeisen and sociologist Hanna Herzog emphasised this ambiguity: the pageant reproduced hierarchies based on appearance while giving young women access to a public arena and opportunities for advancement.

The magazine's last competition was held in 2021. In November 2022, its organisers announced that no competition would take place that year and that no representative would be sent to Miss Universe. The magazine's competition was not subsequently resumed; by 2025 Israel's Miss Universe representative was selected by Edgar Entertainment, a private company unconnected to the magazine.

Cover projects and personal journalism

Positive-influence initiative and TikTok partnership

The magazine's Ha-Mashpi'ot Le-Tova ("Positive Influencers") project recognised well-known women for social initiatives. In 2022, the magazine described it as being in its third year; honourees included television presenter Paula Rosenberg for her work on body image.

On 8 October 2026, La'Isha and TikTok Israel held a conference in Tel Aviv addressing women's representation in decision-making, careers, mental resilience and body image. Eight content creators received recognition awards. The recognised activities included combating racism and bullying, transgender acceptance, body positivity, encouraging reading and widening access to English-language education. The eight recipients appeared together on the magazine's cover, accompanied by interviews about their activities.

Domestic violence helpline and *6724EVER

Readership profile

From its early decades, La'Isha positioned itself as a popular, broadly accessible magazine. Studies of the 1960s and 1970s describe it as addressing a wider readership of lower socio-economic and cultural status than its rival At, which targeted educated and affluent women. In 2019, Lachover noted the absence of a survey of the magazines' readership profiles in the early 21st century. Given changes in society and in the magazines themselves, she suggested that there were no substantial differences between the contemporary audiences of La'Isha and At.

Articles published in the Detroit Jewish News in 1978 reported that La'Isha printed slightly more than 70,000 copies a week, more than double the 30,000 copies of the monthly At. They noted that La'Isha was printed entirely on newsprint and described its home supplement, La'Bayit, as a handbook of money-saving tips.

An exposure survey cited in 1997 recorded 28.1% for La'Isha and 19.4% for At. The magazine then targeted all age groups, and a marketing consultant quoted by Globes described its readership as drawn more from lower socio-economic groups. Its marketing vice-president said that more than two-thirds of readers took it to bed and read it before sleeping; a campaign by the Baumann Ber Rivnay agency presented the magazine as a friend keeping the reader up to date. In 2001, Globes described La'Isha as a weekly selling hundreds of thousands of copies a week; in the same article, Miriam Nofekh-Mozes said, referring to the group's men's magazine Blazer, that she would be glad if the husband of every La'Isha reader bought it. In 2004, when its 3,000th issue appeared, the publisher reported a weekly readership of more than 600,000. These figures referred to estimated readers rather than copies sold.

Nenner's conception of the magazine's audience also included girls. In its entry to The One Show, the magazine described its copies as rarely discarded, passed between family and friends, and found in hair salons and waiting rooms.

Male readers

Although directed primarily at women, La'Isha has also had male readers. Former editor Zvi Elgat recalled that, during his tenure, the "Foreign Conversations" department was popular among soldiers. In 2004, editor Orna Nenner said that approximately one-third of its readers were men. In a 2005 interview, Nenner described La'Isha as a publication "for everyone" that could include girls, women of all kinds and men, said that columnist Amos Elenbogen represented "the male voice" in its pages, and reported that men told her they read it to understand how women think, which she regarded as a compliment. In a 2026 article, journalist Orit Merlin-Rosenzweig estimated that about a quarter of its readers were men, adding that many did not admit to it.

Exposure surveys

Later surveys by TGI, a commercial media-exposure survey, measured exposure of 9.5% in 2011, 8.3% in the second half of 2013, 7.3% in the first half of 2014 and 7.7% in the first half of 2016. These figures measure audience exposure rather than circulation or sales. The magazine remained well ahead of other women's magazines in these surveys: in the first half of 2014, At recorded 2%, and in the first half of 2016 At and Nashim each recorded 2.7% and Lady Globes 1.5%. In Kantar's TGI tables for Jewish adults aged 18 and over, La'Isha's exposure was 7.0% in 2023 and 6.7% in 2024; a survey released in July 2025 recorded 6.4% for July 2024 to June 2025, down from 7.1% a year earlier.

Commercial model and competition

The magazine forms part of the Yedioth Ahronoth group's magazine business and combines editorial material with advertising and consumer coverage. At the beginning of Zohar-Pinhasi's tenure, La'Isha had separate consumer columns for new products, children's products, fashion and beauty, and men's products. In a 1997 interview she explained that readers sought practical information on products, prices and availability alongside personal stories and entertainment. In the same report, marketing executive Hanna Raveh described cooperation between the commercial department and consumer coverage, saying that advertisers were given priority after editorial screening. Journalist Anat Balint criticised the blurring of advertising and editorial content.

For decades, its principal competitor was At, established by the Maariv group. At was launched as a monthly in 1967. In the 1960s and 1970s, La'Isha presented itself as broadly accessible, while At was associated with a more educated and affluent readership. Differences in positioning remained evident in the 1990s: La'Isha's campaign comparing reading the magazine to talking with a female friend stressed intimacy and accessibility across age and social class, while At emphasized fashion and lifestyle. At discontinued its regular print edition with its September 2021 issue and concentrated on digital publishing, while La'Isha continued as a weekly print magazine. Another competitor, Olam HaIsha, closed in May 2016 after about 35 years.

Like other Israeli print publications, La'Isha experienced declining readership as digital media expanded. A 2019 study, citing a 2017 media report by Mann and Lev-On, described it as the most widely circulated magazine of any type in Israel. Readership estimates and survey exposure rates measure the audience and should be distinguished from paid circulation.

Editors-in-chief

Men oversaw day-to-day editing for most of the magazine's first five decades, although much of its writing staff consisted of women.

Contributors

Contributors over the decades have included journalists, professionals and public figures. In the 1950s Shifra Bar-Tov reported on a 1953 survey of attitudes to sex education; in the mid-1960s gynaecologist Yair Gabor wrote the medical column "What Do You Think, Doctor?", and in the late 1970s and 1980s the magazine carried columns by Ruth Westheimer and Daniel Lombroso. Columnists in the 1,500th issue in 1976 included Shulamit Aloni, Hanna Zemer and Galila Ron-Feder. The civil-rights campaigner Shulamit Aloni wrote a regular column for the magazine for more than twenty years. Hanna Zemer, who also edited the daily Davar, wrote an almost weekly personal column from 1969 to 1991, covering politics, economics and security as well as food, fashion and her own experiences; in it she criticised women's magazines for lacking a clear political voice. Photographer Yaki Halperin took hundreds of fashion photographs for the magazine, beginning with a cover in 1979.

More recent contributors have included Amos Elenbogen, described by editor Orna Nenner in 2005 as representing "the male voice" in the magazine; journalist Gafi Amir, a regular columnist from 2010 to 2015; food editor Ayelet Hirschman; journalist Orit Merlin-Rosenzweig, who worked at the magazine for about thirty years and co-created the documentary about it; and reporter Sharon Rofe-Ofir, who led the 2016 project on sexual assault. In 2011 the magazine's columnists included Ayelet Shani, Anat Mordechai, Liat Bar-On, Dafna Levi and Karen Ohayon, who with Rofe-Ofir wrote personal columns on the social protests of that summer.

Editors-in-charge

Hemda Nofekh-Mozes was the founding editor-in-charge from 1947 until her death in 1989. Her daughter-in-law, Miriam Nofekh-Mozes, held the position from 1990 until the end of 2025; according to a 2026 article published by the magazine, she brought women into editing and management roles. In November 2025 the Nofekh-Mozes family announced the sale of its shares in the Yedioth Ahronoth group to Arnon (Noni) Mozes, and it was reported that Miriam Nofekh-Mozes would leave the magazine at the end of the year after 35 years. This supervisory role is distinct from that of the editor-in-chief responsible for everyday editorial work.