Anna Wintour's Net Worth to Undergo Major Transformation After ‘Vogue' Exit
Last month, the 75-year-old announced her departure from the fashion magazine's day-to-day operations, while remaining chief content officer for Condé Nast and global editorial director of Vogue, the Associated Press reported.
While Wintour's net worth has not been confirmed, she amassed her fortune in the magazine industry.
The London-born fashion icon began her career as an editorial assistant at Harpers & Queen magazine, now Harper's Bazaar UK, before landing roles at Viva and British Vogue.
In 1988, Wintour was named editor-in-chief of American Vogue and helped to revive the brand.
"I want Vogue to be pacy, sharp and sexy, I'm not interested in the super rich or infinitely leisured," the media executive previously said, per the Daily Mail. "I want our readers to be energetic, executive women, with money of their own and a wide range of interests."
She continued: "There is a new kind of woman out there. She's interested in business and money. She doesn't have time to shop anymore. She wants to know what and why and where and how."
Professor Martha M. Steffens, who teaches business and financial journalism at the University of Missouri, told Newsweek that Wintour "could actually benefit financially" after relinquishing her editor-in-chief duties.
"She still will receive a salary for her continued role at Condé Nast," Steffens said, noting that "she might have time to pursue other creative projects, like a book or movie/video deal, or even a public speaking contract. I doubt Wintour is really worried about her overall net worth. It's at least $50 million now, and that's not likely to disappear anytime soon."
Kirsty Fairclough, a Manchester Metropolitan University professor who specializes in pop culture and celebrity culture, agreed.
"Contrary to speculation about financial diminishment, Wintour's net worth-estimated at approximately $50 million-is unlikely to suffer," she told Newsweek. "She retains considerable influence through her continued position as global chief content officer at Condé Nast and global editorial director for Vogue. These roles ensure her presence remains embedded in the strategic direction of the brand, even as day-to-day editorial oversight transitions to a new generation."
Wintour became chair of the Met Gala in 1995. The Metropolitan Museum of Art's Costume Institute Gala is a star-studded yearly fundraising event in New York City.
Fairclough added: "Wintour's enduring association with global tentpole events such as the Met Gala and Vogue World further secures her public and institutional authority within the fashion ecosystem."
Dr. Rosie Findlay, senior lecturer at City St George's, University of London, whose research focuses on 20th and 21st century fashion media and communication, said: "I imagine that Ms. Wintour would have a specific negotiated salary that included her work as editor-in-chief of Vogue U.S. as well as her roles as global editorial director of Vogue and chief content officer at Condé Nast. The portion of her salary that was predicated on her role as editor-in-chief may be deducted, but we can only speculate."
She noted, however, that Wintour won't need to worry about her finances.
"It is widely reported that she is independently wealthy, with an estimated net worth of $50 million, so I think she'll be OK!"
Wintour's exit provides opportunities for her as well as Vogue.
"Unlike celebrity influencers who plaster their names on everything, Wintour has never lent her name to any product. If she wanted, she could build a brand on exclusivity, precision, and cool control-the exact qualities she represents," Steffens said. "Of course, sunglasses or a signature fragrance would be top sellers. She also could write a memoir or book on finding your style. These would be practically guaranteed bestsellers."
As for Vogue, "the moment represents a pivotal juncture in the evolution" of the publication, Fairclough shared.
"As publishing continues its digital transformation and legacy brands contend with the demands of younger, more diverse audiences, the departure of an iconic figure such as Wintour offers both a challenge and an opportunity: to reimagine authority, aesthetic, and engagement in the post-print, post-personality era of fashion media."
"It's an opportunity for a fresh editorial perspective after Wintour's long tenure as editor-in-chief," Findlay added.
The Devil Wears Prada was released in 2006, and Wintour has widely been considered the inspiration behind Meryl Streep's character Miranda Priestly. The Devil Wears Prada 2 is currently in production and will be released next year.
"With the sequel to The Devil Wears Prada coming out in spring 2026, it will only increase Wintour's marketability," Steffens told Newsweek. "The original movie rocketed her to more widespread fame, and this second movie will likely raise her profile once again."
"The musical version of The Devil Wears Prada has been a hit in London. Any Broadway debut of that show would only enhance her marketability. Of course, the movie and musical are based on a fictionalized version of her, but it's no secret that Wintour was the inspiration."
In an interview with the BBC last year, Wintour was asked about her influence on the iconic film.
"I don't really think about it," she said, noting that it's "for the audience and for the people I work with to decide if there are any similarities between me and Miranda Priestly."
"What I'm really interested in is the creative aspect of my job," she added.
Steffens said that if Wintour "were to cash in on her name, she'd be sitting on a brand potentially worth between $50 million and $150 million, depending on how she chose to play it."
"This is because she's been a curator-someone with a keen eye-so her recommendations in the fashion and beauty sphere are valuable."
"If she wanted to, Anna Wintour could become a brand unto herself-less like a passing trend and more like a fashion institution," Steffens suggested. "Think of it as Martha Stewart-meets-Karl Lagerfeld: a figure whose name evokes timeless taste and who profits by curating, not chasing the latest trend."
Fairclough added: "Wintour's legacy is defined not only by her editorial decisions-famously blending celebrity and couture-but also by the consolidation of Vogue as a lifestyle authority in the convergent space between fashion, politics, and celebrity culture."
"In this sense, Wintour has not exited so much as evolved-her influence repositioned rather than diminished. The question is not whether Vogue can survive without Anna Wintour, but how it will redefine itself in the space she has vacated."
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