Anna Wintour interview. Secrets of successful people: Anna Wintour, the "iron lady" of the fashion world

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

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

Indeed, Wintour's influence extends much further than Conde Nast's role as creative director. She is an informal 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 design, presides over official breakfasts discussing the most important trends of the season with the top bosses at US department store Neiman Marcus, the monster of the luxury industry. Designers turn to her for advice on potential investors, and investors listen to her opinion on the best new talent in design.

Even a small sampling of her itinerary through the latest fashion weeks shows how deeply Anna Wintour is involved in every corner of the fashion industry and fashion's connection to politics, celebrities, pop culture and art. 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 supported in the 2016 US presidential election. We then see her at Milan Cathedral at a memorial ceremony for her friend and permanent editor of Italian Vogue Franca Sozzani, where Anna is hand in hand with Sozzani's son, Francesco Carrozzini, who, a few days before this interview, announced his engagement to Wintour's daughter, Bea Shaffer.

ANNA WINTOUR, HER DAUGHTER BE SHAFFER AND HER FIANCE FRANCESCO CARROSINI AT THE FUNERAL OF FRANCA SOCZANI

In Paris, Anna posed with model Gigi Hadid and her boyfriend, famous pop singer Zayn Malik, at the CFDA/Vogue Fashion Fund 2017 finalists cocktail party. A few days later, she appeared at a press conference with Comme des Garçons designer Rei Kawakubo, whose Creativity is the theme of this year's Costume Institute exhibition at the Museum of Modern Art and the Costume Institute's annual ball, which Wintour has turned into a worldwide media platform.

Soerberg is right. Wintour is, in fact, more of a head of state than just Chief Editor. The position gives her a unique bird's-eye view of the fashion industry that extends far beyond Vogue and Conde Nast and captures the vast ecosystem that supports the $2.4 trillion industry. With whom else to discuss the decay that strikes the very heart of the American fashion business, if not with the most valuable adviser - in fact, the president of the industry?

On a cool March morning, 8:34, Wintour is dressed in Prada. She welcomes me warmly into her office, and we sit down at the famous Alan Buchsbaum desk, which has appeared in countless photographs and films. To maintain their reputation, a lipstick-marked Starbucks cup sits in the center of the table. There are many Apple gadgets nearby: iPhone, iPad and MacBook Air.

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

To increase this demand, Wintour and Soerberg have implemented many operating and organizational change that strengthen the company's position in the era of compact and fast digital technologies: several layoff cycles; closure of Details, Self and Lucky magazines; translating print TeenVogue online with four print editions; the convergence of Style.com into a new “Runway” section on the Vogue website, and, of course, the rallying of all the creative teams of the company (there are 21 in total), magazines, websites and the creative agency Conde Nast 23 Stories under the leadership of the new corporate creative director Raul Martinez.

I'm here to understand what the most powerful figure in the fashion world is doing as 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 economic, foreign and social policy unpredictably changes direction from one pole to another. The now 125-year-old American Vogue is headquartered at the politically charged address of the World shopping center, so from the height of his position, Wintour is also grappling with the influence that Donald Trump will have on America and the world.

Imrad Amed: What do you think it meantVoguein 1892, when it was founded, and how has its role changed now?

Anna Wintour: Well, believe it or not, I wasn't there in 1892! But Vogue was a public magazine. It still reflects the time to the extent that fashion reflects the time. Whatever 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, boyfriends, 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 in order to understand what it can be. For example, I was so touched that I asked our functional department to find someone who participated in the marches in the 60s. They found a wonderful writer named Mary Gordon. Then she had to sneak out of the house without telling her mother, without telling anyone, and then sneak back in without her family ever knowing about it. Of course, in February 2017, mothers, daughters, grandmothers, boyfriends, husbands all walked together. So it was interesting to see how much the world has changed.

And also look at what they wore then and what they wear now. For me, fashion is always fascinating, because through fashion and clothes you express yourself. And no matter what year you hold Vogue in your hands, we try to reflect the time, reflect the moment. Whether it's about fashion photography or political, cultural coverage, a magazine is a living, breathing object. You have to be in the moment: not too ahead, not too behind. You must reflect what is happening.

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

AB: Destruction (as change, change - approx. ed.) is exactly the word to which we return. One of the initiatives I take here as Artistic Director is that I host regular editorial meetings. task force(Editorial Task Force meetings - ETFs). We're inviting leaders from other industries to come and talk to our team about what's going on in their industries, be it media or Silicon Valley.

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

One of the main messages we've gotten this way (from Silicon Valley in particular) is that you don't have to be afraid of change. The traditional company is the hardest to turn around, and you must be open to new ideas and not be afraid of failure. When change constantly challenges 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, “That's the problem with long-established companies, they tend to do things their own way. I'll be the first to admit that in CondeNastwe are guilty of arrogance - we,CondeNast have always done so. We are so busy working to be the best, to be perfect, that we are not always ready for change. I hope this changes." Will it really change?

AB: I think yes. We are a major media company, capturing the public's attention in ways we've never done before. The circle of those with whom we talk has changed, a different format of conversation has appeared on completely different interesting topics, the news cycle has completely changed. Consequently, we have many times more frightening, but also more exciting possibilities.

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

So yeah, I can't remember a time that was as full of change, but I also can't remember a time that was so exciting. We have left – and this is certainly something we have discussed a lot at Conde Nast and of course here at Vogue: Inclusion – We need to reflect the world we live in. I believe that fashion - and I attribute us to it too - was guilty of imposing too narrow thinking, and, thank God, things are changing. I think it's wonderful.

IA: With your March issue, which featured all those amazing women on the cover, special efforts were made to reflect an all-encompassing perspective...

AB: It wasn't the first time. The entire last January issue was devoted to differences.

IA: But still there is Feedback which you receive instantly. People say, "Oh, that's 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 won't 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 do away with?

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

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

AB: We are all gathered here on the same floor. It's a total integration: we meet, we discuss ideas, we 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 Metropolitan Museum of Art, through our Instagram feed - 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 that requires a slightly different method of talking or reaching out to the public you're talking to.

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 the fact that I have all these different opportunities to speak to a diverse audience, I feel joy. It lies in the fact that everyone who works with us constantly surprises, delights and informs about what they are doing. I like to know what's going on, but I'm not a micro manager. I don't think people do their best in a situation of 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 shows. For example, editors have become part offashion- landscape that has never been before. 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 personalities involved in this area is wonderful. I look at the street style that is on our site and on many other sites and I find these photos very, very inspiring and funny - thank God, not all the people in them are dressed 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 walked off the runway, who actually put things together with their personal style, ingenuity, sense of humor and wit. I think it's amazing, why not? Street style gives you the opportunity to look at something else while you wait for the show to start.

IA: Going back to what you said earlier: if fashion reflects the times, it's hard to think about the present now without thinking about politics.

AB: Have you just arrived from London?

IA: Yes.

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

UK PRIME MINISTER TERESA MAY. PHOTO: VOGUE.COM

IA: Yes, actually I even took a few 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 concerned that they might be disappointed.

IA: Well, no one was disappointed in the end. Political history inVogue- it was everywhere. I was reading some materials and found out that Lee Miller, a war correspondentVogue at the end of World War II, published rather provocative photographs on the subject of the Holocaust - therefore, in a sense, Voguealways turned to such serious topics as politics.

AB: Yes, we have history. I can't understand why no one has made a movie about Theresa May because she is such an amazing 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, that's really what we've decided to focus on throughout the year. Instead of bringing up just one issue, we thought we'd 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 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 the choice of Theresa May was natural for us.

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

AB: I think we still can not assess the consequences of today's political influence and understand what will happen in the future. Too many news. I don't know what you see. I see that everyone was and still is so consumed by the Trump presidency. He gave many reasons for discussion. I feel that people have begun to accept this state of affairs. It becomes not that “normal”, rather, these are the 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 Furstenberg: “There is no point in whining, complaining or screaming. Country voted» . So what can we do now to be the most helpful and also to support what we believe in? People may have disagreements. They believe in the correctness of their views just as we believe in ours. So let's try to understand what we can do to work together. I really believe this, 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 had been to New York—and he had been to New York—knew him. I respect Ivanka and everything she has achieved. And, as I mentioned earlier, we invite experts from different fields to talk to 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 went to the New Youk Times. I think it was natural for us to do it.

IA: Some of the initiatives that the Trump administration is pushing - especially the import tax - are worrisome for 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 here comes the difficult question of howVogue should broadcast. Helen Taft was one of the first to be featured on the magazine, and Hillary Clinton was the first first lady on the cover. Will you continue this tradition?

AB: We're always taking pictures and writing about first ladies in one way or another, so like I said before, I can't imagine that at some point we won't. 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 think that we should respect the Office of the President of the United States of America, and I think 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.

IA: From the moment you started working inVoguehas changedfashionbusiness in the USA?

AB: Well, I guess American fashion used to be made up of big dominant brands. Calvin, Ralph, Donna, Michael & Mark were well known. It would take at least 10 years to grow up and approach their level. Now, in my opinion, it is much easier for young talents to achieve 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 unbelievable how much more refined the client has become. He knows a lot and does not want to be used in someone's interests. This applies even to those who have the time, privileges and a lot of money to spend on clothes.

Today's shoppers will be asking for something online and not wanting to be used, which 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 works based on your words?

AB: It's just 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 is a political editor. It's just the world I'm in. And honestly, without being pretentious, I don't think about the power or what it brings me. What does my position really give me? Nice table in a restaurant? I'm just trying to use my position to help Conde Nast and others.

IA: Then why do you think this myth has arisen 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've been told, she doesn't like long meetings, and also because I have so many topics to discuss. News broke that morning that Edward Enninful had been appointed editor of the BritishVogue, and Wintour herself held this position from 1986 to 1987. Wintour is also busy getting ready for the 2017 Met Gala and the opening of the Costume Institute at the May 1st gala.

According to rumors from numerous sources, 68-year-old Anna Wintour, editor-in-chief of the American edition of Vogue, was about to retire after the release of 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 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 since November 2017.

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

This year, Anna Wintour celebrates her 30th birthday as editor-in-chief of the world's oldest glossy magazine. She is 8 years away from the corporate record - at the beginning of the 20th century, the editor-in-chief of the magazine, Edna Vulman Chase, held this post for 37 years.

She certainly will not be left without connections and new job offers, the British Fashion Council may well provide her with a high post 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 british empire". Wintour was highly honored for her contribution to the development of journalism and fashion, the British Queen even joined her at one of the shows of London Fashion Week for the Fall-Winter 2018 season.

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 - an immensely stylish and tyrannical editor-in-chief of a glossy magazine, and the real "devil" demonstrated a rare sense of humor by visiting the premiere.

Cover story

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

Vogue covers on the Champs-Elysées 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 see the process of creating the highest quality gloss.

And although many of Conde Nast's management team 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 each time soared to sky-high heights, and competitors immediately adopted any revolutionary initiative.

In the magazine's history with the stars of the first magnitude, readers have not had more complaints than in April 2014, when Kanye West and West posed for the cover. Commentators in in social networks were not happy about the appearance of Kim in the foreground - in fact, the reality TV star became famous thanks to the leaked Internet home video, 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 with Clinton if the first woman president won - 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 at her home in Greenwich Village at a party in honor of the fundraising of the Democratic National Committee.

That evening, about 30 like-minded people donated approximately $33,000 in entry 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 of Art, which hosts the MET Gala Ball every first Monday in May, was named after in 2014. Since Anna began organizing the event in the 1990s, 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 kinds of charities, but Anna Wintour made it the most long-awaited and high-class event.

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

Evan Agostini/Invision/AP

MET is a bit like the Oscars, except you have to look at least as luxurious as ever to get in, and Anna likes you. And for the honor to achieve the last, hundreds more or less famous people willing to pay any price.

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

A bob haircut, black Chanel half-face glasses hide a tired look from under her brows. Palms squeeze a notebook and phone. This is Anna Wintour - a small woman on whose decisions an entire industry depends ...

Anna's father, editor-in-chief of the famous English tabloid Evening Standard Charles Wintour, never doubted that his daughter would be able to achieve a lot in life. Once again, over morning coffee, listening to advice from Anna, who was barely 15 years old, about improving the magazine, he smiled inwardly. But he answered aloud in all seriousness that her remarks seemed to him very reasonable and at the meeting he would definitely discuss them with investors. And he didn't cheat.

On the way to the office, sitting in the back seat of the car, he just finalized the ideas of his daughter, quickly writing down what was said in a notebook. And then, as promised, he presented them to those on whose opinion and financial injections the further fate of his newspaper depended. After a few weeks of such edits, the circulation of the tabloid grew: the publication managed to attract a young audience. That was the goal set for him by the management of the publishing house, and it was achieved.

“Yes, Anna will definitely make a career in the media. - Wintour, who has seen a lot in this business, had no doubts about this. - But will she have a family? Can someone get along with a girl whose opinion is always the only correct and non-negotiable? With a girl whose smile is as rare as a birthday present? The tough business she seems to have been since birth? It is strange that as a baby she silently allowed her to choose her undershirts, he thought with a smile. “Today, she doesn’t allow any decisions to be made for herself.” At 14, Anna cut off her wonderful hair, making a trendy bob haircut. Just as decisively, she shortened the hem of her skirt, which seemed to her too long. Her next act will be much more serious: soon Anna will announce to her father that she is leaving school. She wants to act, not to wipe the ugly school uniform in the lessons, from which she sees no benefit. Let her stupid classmates do it, Anna has other plans. Since childhood, idolized "gloss", she already knew what she wanted to do.

ANNA ON THE NECK

The appearance of young Wintour in the editorial office of Harper's Bazaar's British counterpart, Harpers & Queen magazine, at first did not alert anyone. But, starting from the position of assistant editor of the fashion department, after a few years, Anna has grown to the deputy editor-in-chief. The pawn went to the kings, on the way easily sweeping away weak pieces from the chessboard. Worthy resistance Wintour was able to provide only the new editor-in-chief Min Hogg. She made a decision right away: Anna Wintour must leave, there is no place for two queens on the same throne. Anna just laughed to herself. All this is by the way: it is high time for her to come closer to her main goal, and for this you need to move to New York. There, in a high-rise building on Times Square, is an office, one of whose rooms she hoped to occupy. The powerful publishing house Conde Nast needed someone like her, Wintour had no doubt. Anna was determined to become the editor-in-chief of Vogue. The American Harper's Bazaar became a convenient springboard for approaching the target. Here she was already heard about, and yet Wintour was hired as a junior fashion editor. And after 9 months ... she was fired due to "creative differences" with the editor-in-chief Tony Mazzola. Well, no problem. Allowing herself a short vacation and a couple of novels behind her boyfriend, journalist John Bradshaw (one of them with Bob Marley, according to the tabloids), Anna, with his help, got a job as editor-in-chief at Viva magazine. Is the magazine closed due to unprofitability? Not a problem. A new dizzying romance with French producer Michel Esteban took all her time for the next two years. I had to fly from New York to Paris and back all the time ...

The most intriguing step on the way to the top for Anna was New York magazine. Here she unexpectedly found a like-minded person in the person of the editor-in-chief of this influential publication, Edward Costner. Ed wasn't afraid of Anna, he was using her. Appreciating her talent, he allowed Wintour to act, patronizing at every stage. Taken to the position of fashion editor, Anna was free to do whatever she pleased. Change the content of any of the headings, intrude into the discussion of each issue, remake the cover at your own discretion ... One of these "alterations" brought unheard of luck to the magazine - then the celebrity, actress Rachel Ward, became the face of the magazine for the first time. This decision of the insane Wintour doubled the circulation of the publication. Success turned Anna's head. Appearing for an interview with Grace Mirabella, who was the editor-in-chief of Vogue USA, she declared from the threshold that she wanted ... to take her place. The meeting ended immediately. A few months later, Wintour was invited to an audience with Alex Lieberman, editorial director of Conde Nast. Thus began the era of Anna in Vogue. And although a little later she had to endure a two-year exile in the British office of the magazine, she soon took the same office that she had dreamed of since childhood. No ... I didn’t dream, I planned to take it. That will be more accurate.

PRIVATE LIFE OF THE QUEEN

Her fifteen-year marriage to the father of her two children, the famous child psychiatrist David Shaffer, Anna destroyed herself. With the same composure and strength with which she built the “gloss” she adored brick by brick. At least, that's what the editorials of all newspapers wrote about it - from tabloid tabloids to highly respected publications, like The New York Times. Such news cannot be ignored, even if you risk getting involved in a war with the most powerful woman in the fashion industry. Dividends are too high. "The all-powerful Anna is having an affair with a married Texas millionaire!"; Wintour and Shelby Bryan are having an affair! They wrote about their Paris vacation, the emeralds given to her, described in detail the marriage proposal made to Anna by David ...

She tried to stop the tsunami of publications. Ordered to make calls the right people. In a tone that does not tolerate objections, she ordered the assistants to convince, prohibit, prevent ... And, perhaps, for the first time she lost on all fronts. When a pile of fresh newspapers lay on the table in her office at Conde Nast early in the morning, she already knew what headlines she would read there. And yet she almost cried. What will her children say? Charlie's son is only thirteen, and Catherine's daughter is barely eleven. But… shrews don't cry. They make decisions and act. On the eve of Wintour, with an unwavering hand, she signed the divorce papers and now did not regret it. Her marriage, about which even the yellow press had nothing to write about, except, in fact, the words “longing” and “boredom” repeating each other, has long come to an end. She only clothed the existing state of affairs in a documentary fact. I did the right thing, she told herself. And she said out loud: “Where is my Star / backs? I've been waiting for him for 10 minutes!" And immediately got a cup of scalding cappuccino. Life goes on!

SUIT FROM PRADA

Anna could not have preferred anything else on the evening of the premiere of The Devil Wears Prada. A call from her assistant alerted Miuccia Prada's office the day before, and in the morning, a branded corf with a new dress was already waiting for her. In the cinema, she and her former assistant Lauren Weisberg, the author of the book on which the controversial film was made, promising, albeit indirectly, to tell the whole truth about "nuclear Wintour", will be separated by many people and rows of seats. They will never look at each other, but each will feel the presence of a rival with their skin.

However, Lauren is the past. She is gone. And she, Anna Wintour, was, is and will be the editor-in-chief of Vogue. True, now she will have to answer the question for the rest of her life whether what millions of viewers around the world have watched on the screen is true. Well, if you please: “This is the pure truth. I allow myself to be beaten by my personal assistants, and I also lock them in the office, do not let them out into the fresh air, do not pay them a salary. But I will tell you something else: in my life there are family and friends who mean a lot to me. For the sake of these people, I am ready for anything. And work remains work. Here other tasks are set, and relations take on a different shade.

Some other reaction was expected from her. Demarche to someone - the director, the studio, the actresses who played the main roles in the film, Meryl Streep and Anne Hathaway. Anna reacted: soon Hathaway, beaming with a beautiful smile, appeared on the cover of Vogue USA.

But the thoughts of the almighty Wintour were busy with completely different things. Of course, as always, it was about the magazine and she again acted as a worthy interlocutor for Wintour. “The truth is that only I can make this magazine,” the filmmakers seemed to read this thought in her head. Now she was thinking hard about how to live up to this thesis further.

LINKED AS A CHAIN

It is hard to believe that there is another Anna, not the one that everyone calls "nuclear winter", - soft, touching, capable of love. But she is. At home, with your family

Rigidity and intelligence, utmost composure, purposefulness and independence, often bordering on arrogance - she also inherited all this from her family: great-grandmother-writer Lady Elizabeth Foster, Duchess of Devonshire, grandfather, professor at Harvard University Trego Baker, father, Commander of the Order of the British Empire Charles Wintour.

Anna Wintour has always treasured family ties. Therefore, a divorce from her husband and father of her two children, son Charlie and daughter Katherine, David Shaffer, was difficult for her. But the desire to find personal happiness won. Anna went to Shelby Brian, a Texas millionaire. Next to him, she began to smile again.

Her place still attracted competitors, overthrowing the omnipotent Wintour was a matter of principle for many of her colleagues. In 2008, a columnist for The Sunday Times dared to suggest that 58-year-old Anna Wintour would soon have to give up her place as "the most powerful figure in the fashion world." He, according to the journalist, should be occupied by Rachel Zoe, a brilliant stylist whose services are used by almost half of Hollywood actresses on and off the set. Earlier in the press, another name sounded - Karine Roitfeld, editor-in-chief of the French version of Vogue ...

Anna met Rachel more than once at shows, but never honored her with a word. She knew how to appreciate talent, God knows, but only not in the case when the price of the issue is her chair. Wintour answered the questions of curious journalists with a smile and ... silence. Didn't the film give them all the answers?.. And soon all the newspapers and Internet portals were trumpeting in unison: the Maget agency, collaborating with Rachel Zoe, refused the services of a star stylist. From "reliable sources" it became known that the management of the agency stopped working with Zoya, "so as not to anger Anna." The Daily Intelligencer commented: “It wasn’t because Wintour asked Rachel to be fired. They were just worried: suddenly Anna would think badly of them ... "

But not competitors occupied Anna's thoughts. The Internet is what kept Wintour up at night, wondering what else to do to keep up with world wide web, which offered the reader the necessary information a few minutes after its appearance. Fashion blogs with hundreds, if not of such high quality, but “hot”, fresh from the podium, photos and caustic comments on them became more and more in demand. Street fashion stepped on the heels of eminent designers. Cinema revealed the latest secrets of the fashion behind the scenes. The front row seat next to Anna was increasingly occupied by young people who just kept online diaries without spending a cent on it. But the budget for a photo shoot in her magazine sometimes reached $ 300 thousand. And Wintour did not agree to anything less.

One day at dawn, finishing her daily game of tennis, Anna suddenly realized that in order to win this war, she must ... switch sides! 1name. On the same day, she ordered to recruit several Internet observers who had already earned authority among fashionistas to work on the official Vogue website at once. She even honored an audience with one of them. But what about cinema? Why shouldn't she step into someone else's territory, since filmmakers have allowed themselves to walk around her office, diary, thoughts without asking. What if we offer moviegoers a real walk through Vogue? ..

AUTUMN IN NEW YORK

2007 Spring. New York. The editors are ready to start production of the September issue of Vogue. 840 pages. Like a novel by Leo Tolstoy. "Why not?!" Wintour asked the publisher and bored him with a look that usually instantly chilled the blood in the veins of her employees. The publisher was not a timid one, but he resisted Anna with difficulty. “Okay…” he finally choked out, and Wintour promptly dialed the assistant's number on her Blackberry. “Meeting in half an hour, gather everyone!” They will make the largest number in history, and the process of its creation will be captured on film ... The premiere of the documentary film "September Issue" took place on August 28, 2009 at the New York Museum of Modern Art. Vogue style.

2011. July. Paris. The courtyard in front of the majestic building of the Elysee Palace is flooded with the midday sun. But a small woman in a Chanel suit, who has just stepped out of a black lacquered car, without stopping, hurries up the front stairs inside. There, in the Celebration Hall, it is light from thousands of lights of gilded chandeliers. They are lit on the occasion of the ceremony, the main character of which should be she, Anna Wintour. The President of France is waiting in the hall, in his hands is a small box, the Order of the Legion of Honor, whose cavaliers were previously Brodsky, Gabin, Plisetskaya, Scorsese, Roerich ... Anna smiles.

I prefer it when people tell the truth. You can always figure out the situation when you know exactly all the details

• Born November 3, 1949 in London in the family of a well-known journalist and public figure;
• At 16, she was expelled from school "for unacceptable behavior";
• First job - London department store Harrods, position - trainee;
• In 1988 she headed Vogue USA;
• In 2011 she received the Order of the Legion of Honor.

(Eng. Anna Wintour; b. 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. Her tough and demanding leadership style earned her the nickname "Nuclear Winter". Among other things, Wintour is known for supporting many young people.

Biography and career

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

The girl received her primary education at North London Collegiate School. Already there, Anna first began to show her character. So, for example, she shortened the hem school uniform to make more youthful. At the age of 14, she made herself a bob haircut, which forever becomes her signature hairstyle. At that time, she already had a clear idea of current trends, regularly watching Kathy McGowan's Ready Steady Go! (eng. “Let's go, attention, march!”), As well as leafing through the pages of Seventeen magazines, which her grandmother regularly sent her from America.

“If you lived in London in the 60s, then you had to have an Irving Penn bag on your head in order not to notice those extraordinary events that were happening in fashion.”

Already at such a young age, Wintour had an excellent flair for fashion. Her father repeatedly turned to her for advice, in the hope of attracting a younger audience into the ranks of his readers.

At the age of 15, under the patronage of her father, Wintour got a job as a seller in the famous Biba store., and also began to communicate with men who have good connections and are significantly older than her. So, for example, for some time she met with the British writer Piers 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 went to work at that time the popular Oz magazine, where another fan Richard Neville arranged for her.

After carrying out the already traditional changes in the state, Wintour changed the cover style. Mirabella preferred to see complex studio photos of famous models on the front page. Wintour was much more sympathetic candid shots made outdoors, similar to the ones she liked to put on the front page years ago. Wintour used not the most popular models and mixed inexpensive clothes with. So, for example, on the first cover of the issue, published under her direction in November 1988, 19-year-old model Mikaela Bercu showed off in frayed for $ 50 and embroidered precious stones jacket 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 did not originally plan to put this photo on the cover. “I just said, ‘Why not? This photo was so natural. There was something new about him, something completely different.” The picture was actually so non-standard that before printing the edition, the printing house decided to call the editorial office and make sure that there was no mistake, and whether they understood correctly that this particular photo should be on the cover.

In June 1989, another issue came out 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 begun by Diana Vreeland and turned her attention towards fashion, which soon took Vogue a leading position among the strongest players, where in addition to him were Elle, Harper's Bazaar (led by one of the best former employees Wintour Liz Tilbury) and Mirabella, Rupert Murdoch's magazine. but Wintour's main rival remained Tina Brown, editor, and later The New Yorker.

By the end of the decade, many of Wintour's employees who could not get along with her difficult nature moved to Harper's Bazaar. The only person who dared to challenge Anna Wintour was Kate Betts. Many assumed that it was Betts who would take the chair of the editor-in-chief when Wintour decided to retire. However, Betts chose to find another occupation.

2000s

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

Despite this, Wintour actively continued to deal with the magazine. She launched three new lines: Teen Vogue, Vogue Living, and Men's Vogue. Teen Vogue was almost all 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 Anne the Order of the 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 depicted LeBron James along with, caused a lot of negative reviews accusing the magazine of promoting racism. The following month, a Karl Lagerfeld gown Wintour wore to the Metropolitan Museum of Art's Costume Institute Gala was named "the worst fashion faux pas of 2008." At the same time, Vogue Living was suspended indefinitely, and Men's Vogue was reduced to 2 issues per year, and then as a supplement to the main magazine. The December issue of Vogue comes out with a disparaging comment by Jennifer Aniston about Angelina Jolie on the cover, which caused extreme indignation of the latter. All this made many critics think that Wintour had lost its former grip and flair. Rumors began to circulate in society that Nuclear Winter would resign, and the editor of the French Vogue would be appointed in her place, and someone even thought that Alena Doletskaya would get it.

However, in 2009, Wintour publicly announced that she was not going anywhere. At the same time, a documentary film by R.J. Cutler, "September Issue", where many secrets of preparing for the press of Vogue magazine 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 Katherine (b. 1987). The couple divorced in 1999. This event was widely discussed in the press. Many journalists suggested that the reason for the divorce was Wintour's affair 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, as well as the founder of a foundation developed by Vogue in conjunction with, which seeks out and promotes beginners. In addition, she regularly raises funds for various AIDS charities.

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 puts his hair, does makeup and goes to work in the office. All these preparations take her two hours. Wintour always arrives early for fashion shows. A woman rarely stays 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 sunglasses from Chanel. Someone believes that she wears them because of vision problems, and someone that it is easier for her to hide her true feelings.

The severity of Anna Wintour is legendary. Unwritten rules forbid junior employees from talking and riding with her in the same elevator. Even close friends of Wintour admit that they experience inexplicable shyness in her presence.

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

Barbara Amel once admitted to reporters.

Wintour is also famous for his perfectionism. One day, she had her assistant rummaging through a photographer's wastebasket to find her a photograph that the photographer himself refused to give 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 the famous fashion magazine, was written off from her. Although many were anxious about Wintour's reaction, she overcame her initial skepticism and stated that she liked the film in general and the performance of Meryl Streep (who plays Miranda) in particular.

Anna Wintour and fur

Anna Wintour has been repeatedly attacked by animal rights groups such as PETA for promoting wearing natural fur in the pages of Vogue.

“No one wore fur until she put it on the cover of one of her magazines in the early 90s.”

- recognized CEO Neiman Marcus Group Burton Tansky.

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

Anna Wintour and elitism

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

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

“She was fixated on satisfying the interests of only a certain group of readers,” recalls one of the employees. — I remember when we wrote an article about breast cancer. We had a story about a flight attendant. However, according to Wintour, a simple flight attendant could not become the 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 the upcoming 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 hire young designers, as happened, for example, with and. Her influence was so vast that it went far beyond fashion. She persuaded Donald Trump to allow the use of the Plaza Hotel's ballroom to show his collection when the designer was most in need of money. Later, she persuaded to hire Tom Brown, then unknown to anyone. 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 a powerful person. Do you understand what this really means? Of course, this means you always get the best restaurant seats and the best tickets for the best events and so on. But it's also an amazing 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 get 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 widely known influenced my decision to work in magazines and move to America at such an early age. In England, everywhere I went, everywhere I was asked if I was the daughter of Charles Wintour. I wanted my name to become known to the public through my own efforts. After five years working for a London magazine, where I had a great experience, I moved to New York in the late seventies. By then, I had a clear idea of ​​how magazines 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 US and worked there for House & Garden magazine, and then began working for American Vogue.

T.V.:Describe your typical day.
A.V.: I don't have typical days. Every day is different from the previous one, that's why it's so interesting for me to work. Of course, many things become routine - deadlines, for example, or certain meetings, but 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 don't supervise every shoot, but I like to always be aware of what's going on.

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 doesn't work quite the way it seems. People should learn their trade in specialized educational institutions and establish your brand, just like that and nothing else. If you become a star instantly, then tomorrow you may be forgotten. Another thing is 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 good clothes, but they have no idea how to make their brand stand out from the rest, they don't have a business plan, or they don't know where to make things. Don't try to run before you can crawl. It's a very complex business with a lot of 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 succeed.

T.V.:What qualities do you look for when hiring someone for an entry-level position at Vogue?
A.V.: I'm looking for those who actually read our magazine. People can say “Oh, I love Vogue!”, but when I ask them about what exactly they like, or what photographer they remember the most, sometimes they look at me with surprised eyes. Work on yourself, study articles on the Internet, go to a museum and train. 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 me, but also to other magazine offices.

T.V.: Are there things that you don't want to wear to your interview?
A.V.: Costume. Although who knows. Maybe next season I'll love the costumes. I'm not against jeans either. If a girl wants to work here and comes to the interview in jeans combined with a matching top, I don't mind it.

T.V.: You have been directly involved in organizing the Costume Institute project at the Metropolitan Museum of Art, as well as the organization 7th on Sale associated with charity and aid in the fight against AIDS.
A.V.: The Costume Institute is an event that is different 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 are combined into one. We are proud that we collect such sums of money for the museum and try to diversify the exhibitions we hold. They become one of the most popular exhibitions of the Metropolitan Museum of Art, and people from all over the world flock 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 hurt by the number of people in our field who died from this disease, so we decided to take action.

T.V.: The CFDA and the Vogue Fashion Foundation support three emerging designers each year. How did it all start?
A.V.: After September 11, 2001, when Fashion Week was canceled due to mourning, many designers lost money invested in organizing their shows. Therefore, we decided to support the young talents of America. We hosted a show in a showroom in California and invited ten designers who we considered the most talented, promising and interesting. After talking with them, we got an idea of ​​how to help them, and the CFDA Foundation Vogue Award was founded. The finalists believe that this experience is very useful, and in addition, they can win cash, they have a chance to meet people they would not meet in a simple life. Mentorship 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 really educate and develop new talents.

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

Anna Wintour interview with Rachel Doades, February 14, 2009

R.D.: If fashion is a barometer of sentiment, what can we expect from it in autumn 2009?
A.V.: It is very important for a designer not to be afraid and not to worry about what is commercial and what is not.
Now what is not yet in the wardrobe of buyers and what has intrinsic value will become commercial. 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, we need an emphasis on the quality and durability of things.
This morning I had a meeting with Ralph Laurent, who has designed a small but amazing collection of watches. Looking at these, you understand that if you buy them, they will serve you forever.

R.D.:Do you think that during a fashion boom people buy too much?
A.V.: Yes, they are over-buying, but there is a very correct change in this trend happening right now. R.D.:When do you think consumers will start making more informed purchases again?
A.V.: I don't think they will treat shopping the way they used to in the near future.

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 that shopping should bring more joy, last longer, have more meaning.

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

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

R.D.:Does the style of the first lady inspire you?
A.V.: She wears amazing clothes. Things always look like they belong to her from the moment they are 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. But they were too concerned about 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 in doing so she sends a message to all the women of America. They begin to realize that they can wear nice clothes and still be taken seriously.

R.D.: By creating the Vogue Fashion Foundation with the CFDA, you have begun to support and mentor emerging designers. How can you help young talent in such a difficult environment in today's industry?
A.V.: We must be very kind. It is important for a designer to keep the collection clear and to care about quality. Making things very cheap is the wrong way.

R.D.:If even the most successful young designers are struggling to stay on their feet right now, what advice do you have for fashion students who are just about to start making it big?
A.V.: For those who graduate from fashion institutes, it is important to think carefully before releasing their own collection. Anyone who wants to be a designer and think 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 something.

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 lines of inexpensive clothing? Don't you think they are giving way to fast fashion makers?
A.V.: I do not think that they give way to them, because this experience is very useful. If the clothes fit well, then I consider this cooperation appropriate. One of the brands we work with as part of the Fashion Foundation is Gap. They won the competition to develop their own interpretation of classic white. They gathered designers from all over the world and photographed the models in their shirts. All shirts were amazing.

Text: Anastasia Kirillova

November 3, Anna Wintour, editor-in-chief and one of the most celebrated 64 years. It seems to you that, having looked at 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 earns two million dollars a year. And that's just as the editor-in-chief of Vogue! A few months ago, Anna, which probably affected her salary.
• 2 She dances beautifully. At least that's what her close friends say. According to them, Anna is so sexy and good at dancing that it's 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 the glossy magazine Harper's Bazzaar for overstepping all boundaries by shooting on models with dreadlocks. “It was too much for them,” Anna later said.
• 4 Suzy 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 newspaper, 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.(“Home and Garden”, - approx. site). Wintour was invited to the position of editor-in-chief of House & Garden magazine in 1987 to inspire new life to the edition. With her arrival, every shooting of country houses, gardens or cookie recipes was sure to include models in things from the latest collections of famous designers. Subsequently, this became the occasion for numerous jokes.

• 6 She really says "And that's it." The heroine Meryl Streep in The Devil Wears Prada is literally written off from Anna Wintour, and this once again confirms the fact that in real life Vogue's editor-in-chief, like Miranda Priestley, ends the conversation with an offhand "And that's it." Martin Filler, an architecture critic, once recounted an incident between him and Wintour. Anna did not 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's not on the menu. And the restaurant staff has to follow the lead of the editor-in-chief of the Fashion Bible. What to do, it's Anna Wintour!
• 9 Her haircut has not changed for 25 years. Just think about it - for a quarter of a century Anna Wintour has not (although she does her hair every day by a professional stylist who comes to her house in the morning). However, considering that even 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.