Anna wintour interview in russian. Secrets of successful people: "iron lady" of the fashion world Anna Wintour

Text: Anastasia Kirillova

On November 3, Anna Wintour, editor-in-chief and one of the most celebrated, will be 64 years old. Do you think that after watching the September issue, you know everything about Anna? However, much remained behind the scenes. We have collected 10 little-known facts about this amazing woman.

• 1 She makes two million dollars a year. And that's just as editor-in-chief of Vogue! A few months ago, Anna, which probably affected her salary.
• 2 She dances beautifully. At least, her close friends say so. According to them, Anna is so sexy and good at dancing that it is even annoying. Who would have thought!
• 3 She was fired from Harper's Bazaar.“I advise everyone to be fired. This is a great life experience, ”Anna once said in an interview. She herself was fired from glossy magazine Harper's Bazzaar for pushing all the boundaries by shooting models with dreadlocks. “It was too much for them,” Anna later said.
• 4 Susie Menkes was at her 21st birthday. Susie Menkes, a formidable fashion critic for the International Herald Tribune, began her career at the London Evening Standard, where Anna's father Charles Wintour took her. Thus, the "iron ladies" of modern fashion have been friends for a very long time.
• 5 She was the editor-in-chief of House & Garden magazine("House and Garden" - approx. Site). Wintour was hired as editor-in-chief of House & Garden magazine in 1987 to breathe new life to the edition. With her arrival, in every shoot of country houses, gardens or cookie recipes, models were sure to be present in things from the latest collections of famous designers. Subsequently, this became the reason for numerous jokes.

• 6 She really says, "That's all." The heroine Meryl Streep in "The Devil Wears Prada" is literally copied from Anna Wintour, and this once again confirms the fact that real life Chief Editor Vogue, like Miranda Priestley, ends the conversation with an unceremonious "And that's all." Martin Filler, an architecture critic, once talked about an incident that happened between him and Wintour. Anna didn't like the way he writes: “You use too many adjectives. I don't like adjectives. And that's all, ”Anna said.
• 7 She has a son, Charlie. Everyone knows Anna's daughter, 25-year-old Bee Shaffer. She often appears with her at events, including at. But Anna also has a 23-year-old son, Charlie, who avoids publicity.
• 8 Her favorite food is avocado. Anna orders even when it is not on the menu. And the restaurant staff have to follow the lead of the editor-in-chief of the "Bible of Fashion". What to do, it's Anna Wintour!
• 9 Her haircut hasn't changed for 25 years. Just think - for a quarter of a century Anna Wintour has not (however, she is styled every day by a professional stylist who comes home in the morning). However, given that the most influential woman in the fashion business does not change for years, we are not surprised.
• 10 She had an affair with Bob Marley. In 1975, 26-year-old Anna Wintour was introduced to 31-year-old Bob Marley. A stormy but short romance began between the young people. They say that Anna even ran away from her boyfriend for the sake of the musician - however, she returned a week later.

(English Anna Wintour; born November 3, 1949, London, UK) - Editor-in-Chief of the American since 1988. One of the most influential figures in the world of modern fashion. For her tough and demanding leadership style, she earned the nickname "Nuclear Winter". Among other things, Wintour is known for supporting many young people.

Biography and career

Anna Wintour was born on November 3, 1949 and was the eldest child of Charles Wintour, editor of the British Evening Standard, and Eleanor "Nonnie" Trego Baker, daughter of a professor of law at Harvard. Anna was named after her maternal grandmother, Anna Baker (Gilkison). Wintour's great-great-grandmother was the 18th century writer Lady Elizabeth Foster, Duchess of Devonshire, and her great-uncle was Sir Augustus Ver Foster, the last baronet of this line.

The girl received her primary education at the North London Collegiate School. Already there, Anna first began to show her character. So, for example, she shortened the hem school uniform to make it more youthful. At the age of 14, she made herself a bob, which will forever become her signature hairstyle. Already at this time she had a clear idea of current trends while regularly watching Katie McGowan's "Ready Steady Go!" (English "Ready, attention, march!"), as well as leafing through the pages of Seventeen magazines, which her grandmother sent her from America on a regular basis.

"If you lived in London in the 60s, you had to have Irwin Penn's bag on your head, so as not to notice the extraordinary events that were happening in fashion."

Already at such a young age, Wintour had an excellent instinct for fashion. Her father consulted her more than once, hoping to attract a younger audience to his readership.

At the age of 15, under the patronage of her father, Wintour got a job as a salesman in the famous Biba store, and also began to communicate with men who have good connections and significantly exceed her age. For example, for some time she met with British writer Pierce Paul Reed, who at that time was almost 10 years older than her.

At the age of 16, Anna was expelled from school, and she decided not to continue her studies, but to seriously engage in fashion journalism. However, at the insistence of her parents, she had to take a preparatory course at Harrods. However, soon the girl left this educational institution with the words: "You either know fashion or you don't" , and left to work at that time the popular magazine Oz, where another fan, Richard Neville, arranged for her.

Following the now traditional changes in the state, Wintour changed the style of the cover. Mirabella preferred to see complex studio photos of famous models on the front page. Wintour sympathized much more candid pictures made outdoors, similar to the ones she loved to put on the front page years earlier. Wintour used less popular models and mixed inexpensive clothes with. So, for example, on the first cover of the issue, released under her leadership in November 1988, 19-year-old model Michaela Burku flaunted in a worn for $ 50 and embroidered precious stones sweater from, worth 10 thousand dollars. For the first time in the history of Vogue, a model wearing jeans appeared on its cover. A few years later, Wintour admitted that she had not originally planned to put this photo on the cover. “I just said, 'Why not?' This photo was so natural. There was something new in him, absolutely unlike anything. " The photo was in fact so irregular that, before printing the print run, the printing house decided to call the editorial office and make sure if there was a mistake and if they understood correctly that this particular photo should be on the cover.

In June 1989, another issue was released with a revolutionary cover. This time, Wintour chose a photo of a girl in a bathrobe, with wet hair and no visible makeup on her face.

90s

Wintour continued the course started by Diana Vreeland and turned her attention towards fashion, thanks to which Vogue soon took a leading position among the strongest players, where, in addition to him, there were Elle, Harper's Bazaar (led by one of the best former employees Wintour Liz Tilbury) and Mirabella, Rupert Murdoch's magazine. but the main rival for Wintour remained Tina Brown, editor, and later The new Yorker.

By the end of the decade, many of Wintour's employees who couldn’t live with her difficult temperament had moved to Harper’s Bazaar. The only person who dared to challenge Anna Wintour was Kate Betts. Many assumed that Betts would be the editor-in-chief when Wintour decided to retire. However, Betts chose to find herself another occupation.

2000s

The turn of the millennium was marked by a new loss of employees. Another alleged successor, Plum Sykes, left the magazine to concentrate on own projects... Following her, many other employees left the editorial office, who began to offer more lucrative positions in other publications. Soon, the editorial staff of Vogue was updated almost entirely.

Despite this, Wintour continued to actively pursue the magazine. She launched three new lines: Teen Vogue, Vogue Living, and Men’s Vogue. Teen Vogue was almost entirely advertising and made more money from it than Elle Girl and Cosmo Girl. For such a frank expansion, AdAge was named Wintour "Editor of the Year", and Queen Elizabeth II of Great Britain awarded Anna the Order British empire in 2008.

However, in general, 2008 was not the best period for Wintour in her life. So, the cover of the April issue, which featured LeBron James with, caused many negative reviews accusing the magazine of racist propaganda. The following month, a Karl Lagerfeld gown, which Wintour wore to the Costume Institute Gala at the Metropolitan Museum of Art, was named the "worst fashion tactlessness of 2008." At the same time, the release of Vogue Living was suspended indefinitely, and the release of Men’s Vogue was reduced to 2 issues a year, and then as a supplement to the main magazine. The December issue of Vogue comes out with Jennifer Aniston's dismissive comment about Angelina Jolie on the cover, which caused her extreme outrage. All this made many critics think that Wintour has lost her former grip and flair. Rumors began to circulate in society that Nuclear Winter would resign, and the editor of French Vogue would be appointed to its place, and some even believed that Alena Doletskaya would get it.

However, in 2009, Wintour publicly announced that she was not going to go anywhere. At the same time, a documentary film by R.J. Cutler, "The September Issue", where many secrets of preparing for publication of Vogue were revealed, as well as the filming process and fragments of Anna Wintour's meeting with investors.

In 2013 Anna Wintour was appointed art director of the publishing house.

Personal life

Since 1984, Anna Wintour has been married to David Shaffer, in which she gave birth to two children: Charles (b. 1985) and Catherine (b. 1987). The couple divorced in 1999. This event was widely discussed in the press. Many journalists have suggested that the reason for the divorce was Wintour's romance with a certain investor Shelby Brian. However, Wintour herself refused to comment on anything.

Anna Wintour is a philanthropist. She is the trustee of the Metropolitan Museum of Art in New York, and the founder of a foundation Vogue has developed with, which seeks out and promotes aspiring beginners. In addition, she regularly raises funds for various charities fighting AIDS.

As Wintour herself admits, she has a rather strict daily routine. So, the editor-in-chief of Vogue gets up at 6 in the morning and goes to play tennis, after which he does his hair, does makeup and goes to work in the office. All these preparations take her two hours. Wintour always comes to fashion shows in advance. A woman rarely lingers at parties for more than 20 minutes, as she is used to going to bed at exactly 22.15.

Anna Wintour almost always appears in public wearing Chanel sunglasses. Someone thinks that she wears them because of vision problems, and someone thinks that it is easier for her to hide her true feelings this way.

Anna Wintour's severity is legendary. Unwritten rules prohibit junior employees from talking or riding with her in the elevator. Even Wintour's close friends admit that they experience an inexplicable shyness in her presence.

“It so happened that Anna is my friend. However, I cannot explain in any way the fact that every time I meet with her I am seized with a real panic ",

- Barbara Amel once admitted to reporters.

Wintour is also famous for his perfectionism. One day, she made her assistant rummage through a photographer's trash can to find her a photograph, which the photographer himself refused to provide her.

"The Devil Wears Prada"

In 2006, a film based on the book by Lauren Weisberger, Anna Wintour's former assistant, was released in the US. It is believed that the image of Miranda Priestley, the editor-in-chief of a famous fashion magazine, was copied from her. While many were anxiously awaiting Wintour's reaction, she overcame her initial skepticism and stated that she liked the film in general and the performance of Meryl Streep (playing Miranda) in particular.

Anna Wintour and fur

Anna Wintour has been attacked more than once by animal rights societies such as PETA for promoting wearing natural fur on the pages of Vogue.

"Nobody wore fur until she put it on the cover of one of her magazines in the early 90s,"

- is recognized general manager Neiman Marcus Group Burton Tansky.

In October 2005, at Paris Fashion Week, a human rights activist threw a tofu pie at Wintour. Another time, one of the activists threw a dead raccoon on her plate while she was having lunch in a restaurant. Pamela Anderson, in an interview in 2008, admitted that she despises Wintour for the fact that she "makes young designers and budding models wear fur."

Anna Wintour and elitism

Another personal quality of Wintour, for which she has been criticized more than once, is authoritarianism and a desire to force everyone to conform to their own standards. So, for example, she told Oprah Winfrey to lose those extra pounds before she could be photographed on the cover of Vogue. Wintour banned Hillary Clinton from wearing a blue suit for shooting. At one of the events sponsored by Vogue, Anna herself chose outfits for guest stars - Jennifer Lopez, Donald Trump, etc.

Many journalists believe that Wintour excluded ordinary women from the world of fashion, considering this area worthy of only a select elite.

“She was fixated on satisfying the interests of only a certain group of readers,” recalls one of the employees. - I remember how we wrote an article on breast cancer. We had a story about a flight attendant. However, according to Wintour, a simple flight attendant could not become a heroine of Vogue magazine, so we had to look for an ambitious business woman who was suddenly diagnosed with breast cancer. "

Over the years of her career, Wintour has managed to achieve the status of one of the most influential people in the fashion world, setting forthcoming trends and discovering the names of new designers. The Guardian once called her "the unofficial mayor of New York." It was Wintour who contributed to the fact that large Fashion Houses began to recruit young designers, as happened, for example, with and. Her influence was so extensive that it went far beyond fashion. She convinced Donald Trump to allow the Plaza Hotel's ballroom to be used to display his collection when the designer was in dire need of money. Later she persuaded to hire the then unknown Tom Brown. Many fashion figures owe their careers to this "iron woman".

In 2011, Forbes ranked Wintour as the 69th most powerful woman in the world.

“I never thought of myself as an influential person. Do you understand what this really means? Of course, this means you always get the best seats in restaurants and the best tickets for the best events and the like. But it's also a great opportunity to help someone who really needs your help, and I'm glad I have that opportunity. "

Anna Wintour interview for Teen Vogue

T.V .: How did you become interested in fashion?
A.V .: My dad was a newspaper publisher, so all my life I was surrounded by journalists. I think the fact that my father was well known influenced my decision to work in magazines and move to America at such an early age. In England, wherever I went, they asked me if I was the daughter of Charles Wintour. I wanted my name to be known to the public thanks to my own efforts. After working for a London magazine for five years, where I had a tremendous experience, in the late seventies I went to New York. By then, I had a clear understanding of how logs work. I started at Vogue as Creative Director and returned to London three years later to take up the position of Editor-in-Chief of British Vogue. Occasionally, I returned to the United States and worked there for House & Garden magazine, and then began working in American Vogue.

T.V .:Describe your typical day.
A.V .: I don't have typical days. Each day is different from the previous one, which is why it is so interesting for me to work. Of course, many things become routine - deadlines, for example, or certain appointments, but still you never know what will happen tomorrow.

T.V .:To what extent are you aware of the photographic materials and articles that appear on the pages of the magazine?
A.V .: I am a very good sponsor, and when people have a sense of responsibility, they work better. But I don't like surprises. I do not supervise every shoot, but I prefer to always be aware of what is happening.

T.V .:What advice would you give to young people who would like to become fashion designers?
A.V .: Do not rush. The stars of all these reality TV shows think they can instantly turn into designers, photographers, models ... But it all does not work as it seems. People must learn their craft in specialized educational institutions and establish your brand, exactly this way and nothing else. If you become a star instantly, then tomorrow you may be forgotten. It's another matter when you work on something slowly, carefully, and thoughtfully. Only then will you get the fruits. You have no idea how many people come. They make nice clothes, but they have no idea how to differentiate their brand from the crowd, they don't have a business plan or they don't know where to make things. Don't try to run before you learn to crawl. It is a very complex business with many very talented people. They work hard and still some of them burn out. Therefore, if you have a base, then you can get on your feet and be successful.

T.V .:What qualities do you look for when hiring someone for a starting position in Vogue?
A.V .: I'm looking for those who actually read our magazine. People may say “Oh, I love Vogue!”, But when I ask them what exactly they like, or the work of which photographer they remember most, sometimes they look at me with surprised eyes. Work on yourself, study articles on the Internet, go to a museum and do an internship. I like it when there are young assistants in the office; they are full of energy, I spend time with them and try to make sure they have a complete understanding of what we are doing. By investing in them, I am investing in a magazine. In all Vogue - Teen Vogue, men's Vogue - there are people who came not only to mine, but also to other offices of the magazine.

T.V .: Are there any things you don't want to wear to your interview?
A.V .: Costume. Who knows, though. Maybe next season I will love the costumes. I also don't mind jeans. If a girl wants to work here and shows up for an interview wearing jeans combined with a matching top, I don't mind that.

T.V .: You were directly involved in organizing the Costume Institute project at the Metropolitan Museum, as well as organizing the 7th on Sale related to charity and AIDS relief.
A.V .: The Costume Institute is an event that stands out from all others. It's not just about fashion and Hollywood. It is attended by people from different social spheres: politics, business, theater and museums merge into one. We are proud to collect such sums of money for the museum and try to diversify the exhibitions we hold. They are becoming one of the most popular exhibitions of the Metropolitan Museum, and people from all over the world come to visit them. As for the 7th on Sale, it should be noted that our industry has been hit hard by AIDS. We have taken the first step in the fight against it. The fashion community is very generous, we were touched by the number of people in our sphere who died from this disease, so we decided to take action.

T.V .: The CFDA and the Vogue Fashion Foundation support three aspiring designers annually. How did it all start?
A.V .: Since September 11, 2001, when Fashion Week was canceled due to mourning, many designers have lost money on organizing their shows. Therefore, we decided to support America's young talents. We put on a show at a showroom in California and brought in ten designers we thought were the most talented, promising and interesting. After conversations with them, we got an idea of ​​how to help them, and the Vogue Foundation Prize under the CFDA was founded. Finalists find this experience to be very rewarding and they can also win cash, they have a chance to meet people whom they would not have met in a simple life. Mentoring is very important element helping young talent, so we try to keep in touch with all of our finalists to know how they are doing. We are very proud of our foundation. We truly nurture and develop new talents.

T.V .:Is there any knowledge that you received and would like to transfer?
A.V .: I think it's important to love what you do. Don't just think it's great, but believe it. I was taught to believe in the importance of journalism and communication and to love the printed word. I really respect all the talented people with whom I work, because they are the best in their field, they care about what they do and put all their energy into it.

Anna Wintour interview with Rachel Douds, February 14, 2009

R.D .: If fashion is a barometer of sentiment, then what can we expect from it in the fall of 2009?
A.V .: It is very important for a designer not to be afraid and not to worry about what is commerce and what is not.
Now commercial will become something that is not yet in the wardrobe of buyers and that which has intrinsic value. There are too many products, copies and consumerism now. I think what is needed is purity, clarity, alignment of meaning and a sense of reality.

R.D .: So people want to look imperfect?
A.V .: Yes, I don't think everyone wants to look perfect and be polished. Not now. At the moment, an emphasis is needed on the quality and durability of things.
This morning I had a meeting with Ralph Laurent, who has developed a small but simply magnificent collection of watches. Looking at these, you understand that if you buy them, they will serve you forever.

R.D .:Do you think people buy too much during the boom?
A.V .: Yes, they buy too much, but right now this trend is changing very well. R.D .:When do you think shoppers will start making more informed purchases again?
A.V .: I don't think they will treat shopping the way they used to do it anytime soon.

R.D .:Will there ever be?
A.V .: I never say never. Who said that this will never happen? It would be funny. I think shopping should be more fun, last longer, and more meaningful.

R.D .: Are you trying to disseminate information about clothing at more moderate prices?
A.V .: I think we should provide women with clothes that allow them to dream, it's another thing to mix high and low price clothing, the way the first lady does. It's all about the combination ... We strictly look at the price and try to understand whether it is justified.
If we talk about the fact that it is not worth the money ... I will not name names, but on one of the shootings we had a sequin decoration that did not appear on the pages of the magazine. I asked how much it cost, and received the answer - 25 thousand dollars. Then I said that we will not photograph him.

R.D .:How does it affect the fashionable mood?
A.V .: The previous first lady seemed to be trying to wear a certain uniform, while Michelle Obama loves fashion and feels comfortable in it. She combines expensive and more democratic things and loves clothes of young designers. Thus, she has the best influence on the fashion industry.

R.D .:Does the first lady's style inspire you?
A.V .: She wears clothes amazingly. Things always look like they belong to her from the moment they were created. What sets Michelle Obama apart from the rest is that she wears things that she really likes. I have worked with many other people in Washington DC. But they were too preoccupied with the clothes and the fact that they could be criticized, and they would no longer be taken seriously. Washington used to be very conservative, but now our first lady is just amazing. She loves and enjoys clothes, and thus conveys a message to all women in America. They begin to realize that they can wear pretty clothes and will continue to be taken seriously.

R.D .: By creating the Vogue Fashion Foundation in partnership with the CFDA, you began to support and mentor budding designers. How can you help young talent in such difficult conditions in today's industry?
A.V .: We must be very supportive. It is important for the designer to keep the collection clear and to take care of the quality. Making things very cheap is the wrong way.

R.D .:If even the most successful young designers are struggling right now to stay on their feet, what advice can you give to fashion students who are just about to get started?
A.V .: It is important for those who graduate from fashion institutes to think carefully before launching their own collection. Anyone who wants to be designers and thinks they will be the next Calvin Klein or Michael Kors is far from reality. They should learn from Oscar de la Renta or Carolina Herrera - from those who can teach them anything.

R.D .: Many designers have already collaborated with stores such as H&M, creating democratic and fashionable collections for them. Why don't they just create their own low-cost clothing lines? Don't you think they are giving way to fast fashion manufacturers?
A.V .: I do not think that they are giving way to them, because this experience is very useful. If the clothes fit well, then I think this collaboration is appropriate. One of the brands we cooperate with as part of the Fashion Fund is Gap. They won a competition to develop their own interpretation of classic white. They gathered designers from all over the world and photographed models in their shirts. All the shirts were great.

Chief Editor of American Vogue. This year, she is tasked with guiding the magazine through its 125th anniversary in a political, economic and technological decay that is shaking the very foundations of the global fashion industry, which she has ruled as head of state for nearly 30 years.

NEW YORK, USA“I call her some kind of chairman or president of the fashion industry,” says Bob Sawerberg, CEO of Conde Nast. “She plays a role and gives advice to everyone, including us. Yes, she's our creative director, but she's just as amazing in business. "

Indeed, Wintour's influence extends far beyond Conde Nast's role as creative director. She is an unofficial consultant executive directors, designers, politicians and movie stars in America and beyond. Wintour advises major European luxury conglomerates such as Kering and LVMH on new appointments and designs, and presides over official lunches with top bosses to discuss the season's most important trends at American department store Neiman Marcus, the luxury industry monster. Designers turn to her for advice on potential investors and investors are listening to her for the best new design talent.

Even a small sample of her latest fashion week itinerary demonstrates how deeply Anna Wintour is involved in every corner of the fashion industry and fashion's connection to politics, celebrities, pop culture and the arts. In New York, on grand opening a new postage stamp honoring their mutual friend, the late designer Oscar de la Renta, Anna was next to Hillary Clinton, the candidate she vociferously endorsed in the 2016 U.S. presidential election. We then see her outside Milan Cathedral at a memorial ceremony for her friend and longtime editor of Italian Vogue Franca Sozzani, where Anna walks hand in hand with Sozzani's son, Francesco Carrozzini, who announced his engagement to Wintour's daughter, Bee Schaffer a few days before this interview.

ANNA VINTUR, HER DAUGHTER BE SHAFFER AND HER Groom FRANCHESO CARROSINI AT THE FUNERAL OF FRANCA SOCZANI

In Paris, Anna posed with model Gigi Hadid and her boyfriend, famous pop singer Zayn Malik, at a cocktail party for the finalists of the CFDA / Vogue Fashion Fund 2017 issue. creativity this year was the theme of the Costume Institute exhibition at the Museum of Modern Art and the annual Costume Institute Ball, which Wintour has turned into a worldwide media platform.

Soerberg is right. Wintour is, in fact, more of a head of state than a mere editor-in-chief. The position gives her a unique bird's eye view of the fashion industry that extends far beyond Vogue and Conde Nast to embrace the vast ecosystem that powers the $ 2.4 trillion industry. Who else to discuss the collapse that is striking the very heart of America's fashion business, if not the most valuable advisor - in fact, the president of the industry?

A chilly morning in March, 8:34 am, Wintour is wearing Prada. She welcomes me warmly to her office and we sit down at the famous Alan Buchsbaum table, which has appeared in countless photographs and films. To maintain the reputation, there is a Starbucks cup with a lipstick print in the center of the table. Nearby are many Apple gadgets: iPhone, iPad and MacBook Air.

Behind Wintour, on a silver tray in a sideboard, are many recent American Vogue issues, including the 800-page September 2016 issue with - it remains the top issue of the most important fashion magazine in the world. But today's September issue of Vogue has fewer ad pages than before, reflecting a significant decline in customer demand for print ads.

To increase this demand, Wintour and Soerberg implemented multiple operating and organizational changes strengthening the company's position in the era of compact and fast digital technologies: multiple layoffs; closing of Details, Self and Lucky magazines; online translation of printed Teen Vogue with four print issues; bringing Style.com to the new Runway section on Vogue and, of course, bringing together all of the company's 21 creative teams, magazines, websites and creative agency Conde Nast 23 Stories under the new corporate creative director Raul Martinez.

I'm here to understand what the most powerful figure in the fashion world is doing when chaos unfolds around her: traditional media holdings are trying to adapt to the digital present, and the fashion industry is operating at an ever faster pace. At the same time, the country found itself under the rule of a controversial president, whose vector of development in the economic, external and social policy unpredictably changes direction from one pole to another. The headquarters of the now 125-year-old American Vogue is located at the politically charged address of the World shopping center therefore, from the height of his position, Wintour also fights against the influence that Donald Trump will have on America and the whole world.

Imrad Amed: What, in your opinion, meantVoguein 1892, when was it founded, and how has its role changed now?

Anna Wintour: Well, believe it or not, I haven't been around in 1892 yet! But Vogue was a public magazine. It still reflects time to the extent that fashion reflects time. Everything that you see on the catwalks or on the streets, in the movies, on your Instagram - fashion can tell you everything that is happening in the world.

In February 2017, mothers, daughters, grandmothers, boys, husbands all walked together. So it was interesting to see how much the world has changed.

True, sometimes you need to distance yourself a little to understand what it might be. For example, I was so moved that I asked our functional department to find someone who had marched in the 60s. They found a wonderful writer named Mary Gordon. Then she had to slip out of the house without telling her mother, without telling anyone, and then sneak back, and her family never found out about it. Of course, in February 2017, mothers, daughters, grandmothers, boys, husbands all walked together. So it was interesting to see how much the world has changed.

And also look at what was worn then and what is being worn now. For me, fashion is endlessly fascinating because you express yourself through fashion and clothing. And no matter what year you are holding Vogue in your hands, we try to reflect the time, reflect the moment. Regardless of whether it is about fashion photography or political, cultural coverage, a magazine is a living, breathing object. You must be in the moment: not too ahead, not too behind. You have to reflect what is happening.

IA: Can you remember a time when you had to reflect a turbulent period in terms of the political environment, technology and everything that is changing the world?

AB: Destruction (like change, change - approx. ed.) Is exactly the word we are returning to. One of the initiatives that I am doing here as artistic director is that I hold regular editorial meetings. Target group(Editorial Task Force meetings - ETFs). We invite leaders from other industries to come and talk to our team about what's happening in their industries, be it media or Silicon Valley.

When change is constantly challenging you, it's a very exciting time because it gives you the freedom to try different things.

One of the main messages we have gotten this way (from Silicon Valley in particular) is that you shouldn't be afraid of change. The traditional company is the hardest to turn around, and you need to be open to new ideas and not be afraid of failure. When change is constantly challenging you, it's a very exciting time because it gives you the freedom to try different things. That is why I find the discussions of the last 2-3 years so useful and interesting, because otherwise, doing something too monotonous, you become a little isolated, absorbed in your own world. And when you are open to talking with people who see things in a completely different way, it is very inspiring.

IA: Yes, this morning I watched your performance inOxfordUnion(Oxford Union). You said, “This is a problem for established companies, they usually arrange things in their own way. I will be the first to admit that in CondeNastwe are guilty of arrogance - we,CondeNast have always done this. We are so busy working to be the best, to be perfect, that we are not always ready to change. Hopefully this will change. " Will it really change?

AB: I think yes. We're a major media company reaching out to the public in ways we've never done before. The circle of those with whom we talk has changed, a different format of conversation has appeared for completely different interesting topics, the news cycle has completely changed. Therefore, we have many times more frightening, but also more exciting opportunities.

Fashion has been guilty of imposing too narrow a mindset and, thank God, things are changing.

So yes, I cannot remember a time that was as full of change, but I also cannot remember a time that was so exciting. We got out - and this is definitely something that we discussed a lot at Conde Nast and of course here at Vogue: inclusiveness - we have to reflect the world we live in. I believe that fashion - and I attribute us to it too - was guilty of imposing too narrow a mindset, and, thank God, everything is changing. I think this is great.

IA: Your March issue, which featured all those amazing women on the cover, included special efforts to reflect a comprehensive view ...

AB: This was not the first time. The whole last January issue was devoted to differences.

IA: But still there is Feedback that you get instantly. People say, “Oh, well, this is photoshop, and it’s not diverse enough,” and so on.

AB: And it wasn't photoshop! They always talk about us - and that's great. But sometimes you would be amazed at what people focus on. If you worry about every criticism, you will not get out of bed in the morning.

IA: So, in the midst of all these changes, which elements of the traditional magazine do you want to keep, and which ones do you want to end?

AB: We know that our audience comes to us for the best. They stay involved and involved and tell us how they feel and think - and for me this is the best reward. We can't just chase clicks and quick profits. You have to stand up for what everyone believes here at Conde Nast.

IA: You are talking about not chasing clicks. But, if I look at the siteVogue. comand look at the magazine, it becomes obvious to me that in digitalVogue there is a different tone and a different approach. I'm just wondering how your teams work together. Are you all in one place?

AB: We are all gathered here on the same floor. This is a complete integration: we meet, discuss ideas, talk to each other all the time.

IA: Do you go every day and look at everything on the site?

AB: Yes. I feel like this is an opportunity to talk to my audience today. different ways... We talk to her through the work we do at the Fashion Fund, we talk to her through the books we publish, we talk to her through videos. We speak to her through the work we do at the Met, through our Instagram channel - it can be any way. Therefore, it should not be homogenized. Yes, it's all about quality and credibility and what we all do at Vogue, but all of this requires a slightly different method of discussion or addressing the audience you are in dialogue with.

In everything we do, we try to encourage employees so that all editors, writers and photographers take responsibility and feel good about what they do.

Of course, you cannot control everything, but this is not worth striving for. When I think about having all these different opportunities to speak to a diverse audience, I feel joyful. It lies in the fact that everyone who works with us constantly surprises, delights and informs about what he is doing. I like to know what's going on, but I'm not a micro-manager. I don't think people do their best when they are in complete control. Therefore, in everything we do, we try to encourage employees so that all editors, writers and photographers take responsibility and feel good about what they do.

IA: Digital growth has shifted people's attention to impressions. For example, editors became part offashion- landscape, which has not been there until now. What do you think about it?

AB: I think that almost anything that attracts the public and people who care about fashion and who follow the individuals involved in this area is great. I look at the street style that we have on our site and many other sites, and I find these photos very, very inspiring and funny - thank God, not all people are wearing them in black as they used to be.

I get inspired when I see street style, when I see someone who doesn't look like they just stepped off the catwalk, who has actually combined things with their personal style, ingenuity, sense of humor and wit. I think this is awesome, why not? Street style gives you the opportunity to look at something different while you wait for the show to start.

IA: Going back to what you said earlier: if fashion reflects time, then now it is difficult to think about the present time without thinking about politics.

AB: Have you just arrived from London?

IA: Yes.

AB: Have you seen our (the current British Prime Minister - approx. ed)?

PRIME MINISTER OF THE GREAT BRITAIN THERESA MAY. PHOTO: VOGUE.COM

IA: Yes, in general I even took some pictures. It was on the front page of every newspaper. That was incredible.

AB: Yes, for some reason they had the idea that we could put the prime minister on the cover. But this idea was never part of the discussion, and I don't know where it came from. I was worried that they might be disappointed.

IA: Well, as a result, no one was disappointed. Political history inVogue- it was everywhere. I read some material and learned that Lee Miller, a war correspondentVogue at the end of World War II, published some rather provocative photographs about the Holocaust - therefore, in a sense Voguealways addressed such serious topics as politics.

AB: Yes, we have a story. I can't understand why no one made a film about Theresa May, because she is an adorable character.

IA: When you think about the story of Theresa May, why do you think that the reader of the AmericanVogueis she interesting?

AB: I think our readers are interested in women. And going back to our 125th anniversary, this is really what we decided to focus on throughout the year. Instead of raising just one issue, we thought we would look at women in all walks of life. And we did this to show the time when a woman became Prime Minister of Great Britain (our great ally) for the first time since the days of Margaret Thatcher. We know that our readers are interested in politics, we know that they are interested in women, we know they are interested in the world, so obviously Theresa May's choice was natural for us.

IA: At the moment, the atmosphere in the United States is politically charged. You supported a completely different presidential candidate. Not even 100 days have passed since the elections, but what do you personally think about what is happening?

AB: I think we still cannot assess the consequences of today's political influence and understand what will happen in the future. Too much news. I don't know what you see. I see that everyone was and still is so engrossed in the Trump presidency. He gave many reasons for discussion. I feel that people have begun to accept this state of affairs. It is not becoming "normal", but rather new rules of the game.

Now is the time to calm down a little and try to realize what we can do and how we can be useful in the struggle for the ideals in which we believe.

The March issue has a wonderful quote from Diane von Fürstenberg: “There is no point in whining, complaining or screaming. The country voted» ... What can we do now to be most helpful and also support what we believe in? People can have disagreements. They believe in the correctness of their views as much as we believe in ours. So let's try to understand what we can do to work together. I really believe in it, because just thinking differently is not enough.

IA: Is that why you had those meetings with President Trump? I think people were quite surprised.

AB: Well, I've known Donald Trump since the early 80s. Anyone who has been to New York - and he has been to New York - knew him. I respect Ivanka and everything she has achieved. And, as I mentioned earlier, we invite specialists from different fields to talk with us about their views on the processes taking place in the world - and therefore, it obviously made sense to talk to the President-elect. We are a huge media company. I think he also visited the New Youk Times. I think it was natural for us to do it.

IA: Some of the initiatives that are being put forward by the Trump administration - especially the import tax - are worrying representatives. fashion-business.

AB: I don't think we have clarity on this issue. He said a lot, but what can he achieve? There are many difficulties along the way. There was a lot of noise, and now it's time to evaluate the result.

IA: And this raises the difficult question of howVogue should broadcast. Helen Taft was one of the first to appear in the magazine, and Hillary Clinton became the first first lady on the cover. Will you continue this tradition?

AB: We always take pictures and write about the first ladies in one way or another, so, as I said, I cannot imagine that at some point we will not do this. But at the moment we have nothing planned.

IA: Do you think that part of the responsibility forVoguelies with who represents the current administration?

AB: Yes, and I believe that we should respect the Office of the President of the United States of America, and I believe that we also need to respect different points of view. This does not mean that we necessarily agree with everything they say, but most of the country does so.

IA: From the moment you started working inVoguehas changedfashion-business in the USA?

AB: Well, I guess American fashion used to be made up of big, dominant brands. Calvin, Ralph, Donna, Michael & Mark were all common names. It would take at least 10 years to grow and come close to their level. Now, in my opinion, it is much easier for young talents to gain recognition and find their customers.

If you are talented, use in modern ways communication and doing everything that needs to be done - today you can be recognized much faster.

It's incredible how much more sophisticated the client has become. He knows a lot and does not want to be used in someone's interests. This even applies to those who have time, privileges and a lot of money to spend on clothes.

Today's shoppers will be asking the price of something online and not wanting to be taken advantage of - this is a huge change.

IA: How do you react when people say that you are the most influential figure in the fashion world and that the entire industry is working on your words?

AB: This is simply not true. I love my job, I love everything about it. I love the huge responsibility that lies with me as an art director, and I love journalism. My father was an editor, my brother was a political editor. It's just the world I'm immersed in. And honestly, without pretentiousness, I don't think about power or what it brings me. What does my position really give me? Nice table at the restaurant? I am just trying to use my post to help Conde Nast and others.

IA: Then why, in your opinion, did this myth appear around you?

AB: I cannot answer this question.

And this is where my first interview with Anna Wintour ends. I have a second interview with Wintour scheduled in a couple of weeks.― partly because, I was told, she doesn't like long meetings, and also because I have a lot of topics to discuss. News broke that morning that Edward Enninful had been appointed editor of the BritishVogue, and Wintour herself held the position from 1986 to 1987. Wintour is also busy preparing for the "Met Gala-2017" ball and for the opening of the Costume Institute exhibition at the gala evening, which took place on May 1st.

According to rumors from numerous sources, 68-year-old Anna Wintour, editor-in-chief of the American edition of Vgue, is about to retire after the September issue. On April 3, a spokesman for Conde Nast, the publishing house that publishes Vogue, denied this information in an interview with Page Six. “We categorically deny these rumors,” he said.

However, the publishing house is clearly not saying something - the speaker did not name Wintour's further plans.

According to the assumptions of internal sources, now the editor-in-chief of the British version of Vogue could apply for the place of Anna Wintour, but he has significantly less experience and has been in office only since November 2017.

In addition, it is completely unclear who, in this case, will get the post on the governing board of Conde Nast. For the publishing house, for the New York high life, for world fashion, Anna Wintour is practically everything. It's hard to imagine what the fashion world will be like without her.

This year Anna Wintour celebrates her 30th anniversary as the editor-in-chief of the world's oldest glossy magazine. She remains 8 years old before the corporate record - at the beginning of the 20th century, the editor-in-chief of the magazine Edna Wulman Chase held this post for 37 years.

She certainly will not remain without connections and new job offers; the British Fashion Council may well provide her with a high position and good earnings. However, it is possible to highlight the special merits of Wintour without unconfirmed rumors.

In May 2017, Anna received from Her Majesty the title of lady, or rather “Lady Commander of the British Empire”. Wintour was honored for her contribution to the development of journalism and fashion; the British queen even joined her at one of the Fall / Winter 2018 fashion week shows in London.

All those who had nothing to do with the fashion industry learned about its difficult nature in 2006 after the release of the film based on the novel of the same name, The Devil Wears Prada.

In it, Anna became the prototype of the heroine - the immensely stylish and tyrannical editor-in-chief of a glossy magazine, and the real "devil" showed a rare sense of humor by attending the premiere.

Cover story

She really knows how to create a good trend: in 1989, it was on her initiative that a black supermodel got on the cover of Fashionable Bible. And not just for one of the monthly issues, but for the cover of the September one - this fact deserves special mention: the Vogue issue in September is the most important of the year, in fact, it opens the season. In 2009, a documentary film was released, which tells about the process of creating the thickest issue in the history of the magazine in 2007, it was named “September Issue”.

Vogue covers on the Champs Elysees in Paris during the magazine's 90th anniversary celebrations, 2009

Charles Platiau / Reuters

The film, by the way, instantly entered the list best films about fashion, so now on the Internet you can contemplate the process of creating the highest quality gloss.

And although many of the management staff of Conde Nast at the beginning of her editorial career tried to persuade Anna Wintour not to shoot show business stars instead of models, the magazine's sales soared to sky-high heights each time, and competitors took over any revolutionary initiative with lightning speed.

For the entire time of the magazine's work with the stars of the first magnitude, readers had no more complaints than in April 2014, when Kanye West and West posed for the cover. Commentators in in social networks They were not happy to see Kim in the foreground - in fact, the reality TV star became famous thanks to a home video leaked to the Internet, and Anna allegedly supported the upstart.

Non editorial policy

Vogue does not often become a platform for political discussions, but when she ran for the presidency of the United States, she did not remain silent: the editor-in-chief fully supported the Democratic candidate and was even going to release the second cover from Clinton in the event of the victory of the first woman president - the previous issue with Hillary is dated December 1998.

Vogue editor-in-chief Anna Wintour and former presidential candidate Hillary Clinton during an event in New York, 2017

Greg Allen / Invision / AP

In 2014, the former American president and his wife, Wintour, hosted a Democratic National Committee fundraiser at her Greenwich Village home.

That evening, about 30 like-minded people donated approximately $ 33,000 in admission fees to the private event.

MET Costume Institute Ball

It's not hard to guess who the new wing of the New York Metropolitan Museum was named after in 2014, which hosts the MET Gala Ball every first Monday in May. Since Anna started organizing the celebration in the 90s, her work has brought the Costume Institute $ 175 million as of 2016. The original mission of the organizers of the ball was to raise funds for various charitable organizations, but Anna Wintour made it the most long-awaited and high-class event.

Bee Shaffer and her mother Anna Wintour during the Met Gala in New York, 2014

Evan Agostini / Invision / AP

MET is somewhat reminiscent of the Oscar ceremony, only to enter you need to look at least more luxurious than ever, and like Anna. And for the honor of achieving the latter, hundreds more or less famous people willing to pay any price.

From all of the above, we can conclude that Vogue is not just fashion magazine, and Anna Wintour has long ceased to be a simple editor-in-chief.