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BBC News
16 hours ago
- Entertainment
- BBC News
Anna Wintour: The Vogue editor's legacy, and who might replace her
Dame Anna Wintour had just sent off her first edition of US Vogue in October 1988 when the magazine received a phone call from the printers. They had seen the issue's front cover, and had one question: "Has there been a mistake?"The cover, Dame Anna's first as editor-in-chief, featured a lesser-known model, Michaela Bercu, smiling at the camera in a stylish Christian Lacroix couture two things were notably different from usual: the model was standing outside, in the street, and wearing a pair of jeans. The printers half-assumed there had been some kind of error. "I couldn't blame them," Dame Anna later recalled. "It was so unlike the studied and elegant close-ups that were typical of Vogue's covers back then, with tons of makeup and major jewellery. This one broke all the rules."The jeans had, in fact, been a last-minute addition, after the skirt which Bercu was supposed to wear didn't fit properly. But the intended message was clear: the cover star was a regular, everyday girl - and this was a new era for Vogue. Dame Anna's arrival, and desire to defy convention, "signalled a revolution" at the magazine, according to CNN Style's Oscar Holland, who praised her debut issue as "warm and easygoing". After two years in charge of British Vogue, Dame Anna had been hired for the US edition precisely to shake things up. She was tasked with making sure the magazine didn't lose its edge as it headed towards the 1990s. In the decades since, Dame Anna has "steered the title from glossy print editions featuring first supermodels then grunge, via Noughties celebrity culture and reality TV stars, into an online era of social media and digital publishing," noted the Times' fashion editor Harriet this week, Dame Anna announced she would be stepping back as Vogue's editor-in-chief after 37 years. She will remain publisher Condé Nast's chief content officer, a role she was appointed to in 2020, which means she will still oversee Vogue's content, along with the company's other titles such as GQ, Wired and Tatler. But while she may be staying with the company, her departure as editor-in-chief marks the end of an extraordinary era for the magazine, which helped to define pop culture. Dame Anna will be remembered for "the greater sense of informality that she brought to her early Vogue covers" and the tone they set, says Dr Kate Strasdin, senior lecturer at the Falmouth University's Fashion and Textile Institute."She also pioneered the celebrity cover image, positioning popular culture beneath the famous Vogue banner."In her first year as editor-in-chief, Dame Anna put Madonna on the cover, the first celebrity to have featured, as part of her wider mission to merge the words of fashion and entertainment."She was the first to make fashion a global, cultural industry," Marian Kwei, a stylist and contributor to Vogue, told BBC Radio 4's Today. But, she adds, Dame Anna "also showed that fashion could be more approachable". "She took away the elitism that was in fashion, and brought a democratisation, and made fashion this party that everybody else was invited to." It hasn't always been smooth sailing, however. In 1993, animal rights group Peta occupied her office in protest over Dame Anna's decision to wear fur, something she no longer were arguably occasional cultural missteps, too. The LeBron James and Gisele Bundchen cover in April 2008 sparked a debate about whether it reinforced old stereotypes of race and recently, Dame Anna faced a much more existential challenge - how to move Vogue into the digital age with hugely increased 2018, designer Philip Plein compared the number of Vogue's readers with the number of Instagram followers Kim Kardashian had."So what is more important nowadays for a brand?" he asked. "This is an interesting question." In a fast-moving media landscape, some industry watchers may wonder whether Dame Anna was quietly asked to step down by Conde Nast to make way for fresh Alexandra Shulman, former editor of British Vogue, said she doubted this, telling BBC News: "I don't think there's any view that a new vision is needed. "Anna's made it perfectly clear that she's remaining in control at American Vogue... so I think she will still have the final say."Shulman added that it was likely Dame Anna herself would choose her successor at Vogue. 'The high priestess of our time' Dame Anna is as known for her own image as much as the aesthetic she has created in her magazines. Her trademark sunglasses and bobbed haircut are partly what helped her become such an instantly recognisable figure. She told the BBC's Katie Razzall last year, somewhat cryptically, that her sunglasses "help me see and they help me not see... they help me be seen and not be seen".The editor has always been something of an enigma, and will be well aware that the conversation and speculation that surrounds her just fuels the interest she played down the focus on her image, saying: "I don't really think about it. What I'm really interested in is the creative aspect of my job."Her reputation as an editor has, of course, been widely debated, Dr Strasdin notes. "The fashion industry has traditionally been a space where egos and creativity can clash spectacularly," she says, adding that documeantries such as The September Issue and First Monday in May "offer some insight into the strangeness of that world". Over time, Dame Anna gradually became a significant figure not just in fashion, but western culture. She is regularly referenced in hip-hop lyrics, with Nicki Minaj, Jay-Z and Ye (formerly Kanye West) among the artists who have name-checked her."I believe what she has done," reflected Kwei, "is carved a space in fashion, culture, time, history that we will never be able to outdo".Dame Anna was the loose inspiration for Miranda Priestly, the demon magazine editor in The Devil Wears Prada, portrayed on screen by Meryl editor has appeared to enjoy occasionally leaning in to the comparison, and last year attended the gala night for the stage asked if she thought people were frightened of her in real life, Dame Anna replied: "I hope not." Dame Anna's impact can be seen in all kinds of ways, including, for example, at Amazon founder Jeff Bezos wedding to Lauren Sánchez in Venice this weekend."She created that moment, and almost created that brand," the former Sun editor David Yelland told the BBC. "It was when she put Lauren Sancehz on the front of Vogue in 2023, that the Bezos/Sanchez brand started. "She did the same with Kim Kardashian and she did the same with the Trumps. When she put Ivana on the front in 1990 it was incredibly controversial, people called it tacky, but that was the beginning of the Trump brand in the higher end of global society. So she's not just an editor, she's the high priestess of our time." Who could replace Anna Wintour? The question of Dame Anna's successor is complicated. "This is a challenging era for print media," explains Dr Strasdin. "Vogue's social media platforms are frequently under fire for the seemingly relentless celebrity content which critics decry as diluting the mission of Vogue. "But a strong digital presence is vital. Eva Chen, as director of fashion partnerships for Instagram, brings that expertise. She has long been a Met Gala regular and has to be on the longlist I should think.""Chioma Nnadi must also be in the running," she continues. "She hails from London, and has spent the last two years heading up editorial content at British Vogue. She is Wintour's protege and it does feel as if she has been waiting in the wings."Other possible candidates, according to the Daily Mail's fashion editor Margaret Abrams, include former head of Teen Vogue Amy Astley, who still works for Condé Nast editing another magazine. Vogue's senior editor Chloe Schama, her namesake Chloe Malle, editor of Vogue's website, or even Dame Anna's own daughter, film producer Bee Shaffer Carrozzini, could also be in the frame."As ever fashion is regarded as both superficial and economically valuable," says Dr Strasdin. "Anna Wintour has had to tread the tightrope of maintaining relevance as far as style is concerned at the very same time that fashion has had to undergo re-evaluation in relation to sustainability, plagiarism and labour conditions. "I think these are the very real concerns that her successor will have to navigate."
CNN
a day ago
- Entertainment
- CNN
Remember Anna Wintour's shocking first Vogue cover?
By today's standards, the front cover of American Vogue's November 1988 edition seems typical enough. Beside the text 'the real cost of looking good,' Israeli model Michaela Bercu gazes past the camera, her windswept hair brushing across the shoulders of a bejeweled $10,000 Christian Lacroix couture jacket. Yet, the cover signaled a revolution at the storied fashion bible. It also marked two important — and related — firsts: This was the first Vogue cover produced by editor-in-chief Anna Wintour and the first ever to feature a pair of jeans. London-born Wintour, who on Thursday stepped down from the role after 37 years (she will remain as Vogue's global editorial director and publisher Condé Nast's global chief content officer), had been hired to shake things up. The magazine's previous editor, Grace Mirabella, oversaw a surge in readership but was, by her own admission, increasingly out of step with the 1980s zeitgeist. Condé Nast executives were reportedly worried the title was losing its edge. Mirabella had famously repainted former editor Diana Vreeland's red office a shade of beige, which became a metaphor for her reputation as being too unadventurous. Practically every American Vogue cover from 1980 to 1988 had been taken by Richard Avedon, a fashion photographer known for his stark, minimalist style. Models were usually shot against plain studio backgrounds in heavy makeup and statement jewelry. The covers were self-consciously elegant, standing aloof from the more mainstream women's weeklies they shared newsstands with. By contrast, Wintour's debut was warm and easygoing. German photographer Peter Lindbergh held the shoot outdoors rather than in a controlled studio; Bercu's eyes were neither fully open nor looking directly at the camera. As a result, she came across as a glamorous everywoman. Wintour's unpretentious approach was seemingly epitomized by another coverline on that first issue: 'Paris couture: haut but not haughty.' 'It looked easy, casual, a moment that had been snapped on the street, which it had been, and which was the whole point,' Wintour recalled in a Vogue feature marking publication's 120th anniversary. Then there were the jeans. These were not a high-fashion label's take on Americana, they were stonewashed denim pants straight from Guess. Having launched less than a decade earlier, the denim brand's highest-profile moment at that point had come courtesy of Michael J. Fox, who wore a pair of Guess jeans as Marty McFly in 1985's 'Back to the Future.' As such, both in style and styling, Wintour's first cover was a major statement — one that set the tone for hundreds of issues to follow. She went on to forge an editorial identity her predecessors might have looked down on, from spotlighting pop culture icons to featuring a man on the cover (Richard Gere, who appeared alongside then-wife Cindy Crawford). But there was an element of luck behind her debut issue, too. Wintour has since revealed that the jeans were a last-minute decision forced upon the shoot's stylist, Carlyne Cerf de Dudzeele, by unforeseen circumstances. Bercu was initially wearing a full Christian Lacroix suit comprising the beaded jacket (which Wintour described as 'all very 'Like a Prayer'') and a skirt, but the latter didn't fit properly. '(Bercu) had been on vacation back home in Israel and had gained a little weight,' Wintour recounted in the 2012 Vogue feature, before qualifying: 'Not that that mattered. In fact, it only served to reinforce the idea to take couture's haughty grandeur and playfully throw it headlong into real life and see what happened.' Wintour has since recalled that the magazine's printers were so surprised by the front cover that they called to see whether it had been sent in error. The veteran editor also played down the intention behind the image, though she surely knew, better than most, that magazines are judged by their covers. 'Afterwards, in the way that these things can happen, people applied all sorts of interpretations: It was about mixing high and low, Michaela was pregnant, it was a religious statement. But none of these things was true,' she said. 'I had just looked at that picture and sensed the winds of change. And you can't ask for more from a cover image than that.'
CNN
a day ago
- Entertainment
- CNN
Remember Anna Wintour's shocking first Vogue cover?
By today's standards, the front cover of American Vogue's November 1988 edition seems typical enough. Beside the text 'the real cost of looking good,' Israeli model Michaela Bercu gazes past the camera, her windswept hair brushing across the shoulders of a bejeweled $10,000 Christian Lacroix couture jacket. Yet, the cover signaled a revolution at the storied fashion bible. It also marked two important — and related — firsts: This was the first Vogue cover produced by editor-in-chief Anna Wintour and the first ever to feature a pair of jeans. London-born Wintour, who on Thursday stepped down from the role after 37 years (she will remain as Vogue's global editorial director and publisher Condé Nast's global chief content officer), had been hired to shake things up. The magazine's previous editor, Grace Mirabella, oversaw a surge in readership but was, by her own admission, increasingly out of step with the 1980s zeitgeist. Condé Nast executives were reportedly worried the title was losing its edge. Mirabella had famously repainted former editor Diana Vreeland's red office a shade of beige, which became a metaphor for her reputation as being too unadventurous. Practically every American Vogue cover from 1980 to 1988 had been taken by Richard Avedon, a fashion photographer known for his stark, minimalist style. Models were usually shot against plain studio backgrounds in heavy makeup and statement jewelry. The covers were self-consciously elegant, standing aloof from the more mainstream women's weeklies they shared newsstands with. By contrast, Wintour's debut was warm and easygoing. German photographer Peter Lindbergh held the shoot outdoors rather than in a controlled studio; Bercu's eyes were neither fully open nor looking directly at the camera. As a result, she came across as a glamorous everywoman. Wintour's unpretentious approach was seemingly epitomized by another coverline on that first issue: 'Paris couture: haut but not haughty.' 'It looked easy, casual, a moment that had been snapped on the street, which it had been, and which was the whole point,' Wintour recalled in a Vogue feature marking publication's 120th anniversary. Then there were the jeans. These were not a high-fashion label's take on Americana, they were stonewashed denim pants straight from Guess. Having launched less than a decade earlier, the denim brand's highest-profile moment at that point had come courtesy of Michael J. Fox, who wore a pair of Guess jeans as Marty McFly in 1985's 'Back to the Future.' As such, both in style and styling, Wintour's first cover was a major statement — one that set the tone for hundreds of issues to follow. She went on to forge an editorial identity her predecessors might have looked down on, from spotlighting pop culture icons to featuring a man on the cover (Richard Gere, who appeared alongside then-wife Cindy Crawford). But there was an element of luck behind her debut issue, too. Wintour has since revealed that the jeans were a last-minute decision forced upon the shoot's stylist, Carlyne Cerf de Dudzeele, by unforeseen circumstances. Bercu was initially wearing a full Christian Lacroix suit comprising the beaded jacket (which Wintour described as 'all very 'Like a Prayer'') and a skirt, but the latter didn't fit properly. '(Bercu) had been on vacation back home in Israel and had gained a little weight,' Wintour recounted in the 2012 Vogue feature, before qualifying: 'Not that that mattered. In fact, it only served to reinforce the idea to take couture's haughty grandeur and playfully throw it headlong into real life and see what happened.' Wintour has since recalled that the magazine's printers were so surprised by the front cover that they called to see whether it had been sent in error. The veteran editor also played down the intention behind the image, though she surely knew, better than most, that magazines are judged by their covers. 'Afterwards, in the way that these things can happen, people applied all sorts of interpretations: It was about mixing high and low, Michaela was pregnant, it was a religious statement. But none of these things was true,' she said. 'I had just looked at that picture and sensed the winds of change. And you can't ask for more from a cover image than that.'
The Age
a day ago
- Entertainment
- The Age
Why Anna Wintour will never go out of fashion
Since first shocking the fashion world by putting a model in an exquisite Christian Lacroix jacket and ordinary blue jeans on her first US Vogue cover as editor in 1988, Anna Wintour has known how to make headlines. This week was meant to belong to Irish designer Jonathan Anderson, who was making his debut in Paris as creative director of the most celebrated luxury label, Dior. By announcing the search for her successor in the editor's chair at Vogue, Wintour hijacked the conversation, reminding everyone who truly rules fashion. For 37 years, Wintour has steadfastly pushed fashion to the forefront of popular culture. When Wintour began at Vogue, few people outside the magazine's glossy pages knew the names of the designers at Chanel or Louis Vuitton. Now your barista knows how to say Balenciaga and could be wearing it. By filling Vogue's covers with Hollywood stars such as Nicole Kidman and Jennifer Aniston, along with performing artists Madonna, Britney Spears and Rihanna, she has consistently blurred the lines between fashion and celebrity. Thanks to Wintour's democratisation of luxury, most celebrities now either have lucrative contracts as fashion ambassadors or their own clothing or beauty brands. If you are Kim Kardashian, whose first Vogue cover was in 2014, you have all three. With her signature bob and sunglasses, Wintour has become a star herself, never quite rising above the derisive nickname 'Nuclear Wintour', earned for her no-nonsense management style. 'I have great affection for Anna, but she took to power rather than being the cozy, conspiratorial friend she used to be,' former Vanity Fair editor Graydon Carter told The New York Times in March. 'I'm impressed by her ability to take on more and more responsibility.' Other nicknames came along, including the title from the 2003 book The Devil Wears Prada, written by her former assistant Lauren Weisberger, which went on to become a movie and musical. At the musical's London premiere in December, Wintour told the BBC 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'. Viewers of the 2009 documentary The September Issue were given glimpses of her very Miranda Priestly-like imperious nature and the fear she instilled in designers, eager to win her approval and the fashion pages that came along with it. Stefano Pilati, then creative director at Yves Saint Laurent, memorably trembles when a less-than-enthusiastic Wintour arrives in his studio. Pilati was replaced in 2012.
Sydney Morning Herald
a day ago
- Entertainment
- Sydney Morning Herald
Why Anna Wintour will never go out of fashion
Since first shocking the fashion world by putting a model in an exquisite Christian Lacroix jacket and ordinary blue jeans on her first US Vogue cover as editor in 1988, Anna Wintour has known how to make headlines. This week was meant to belong to Irish designer Jonathan Anderson, who was making his debut in Paris as creative director of the most celebrated luxury label, Dior. By announcing the search for her successor in the editor's chair at Vogue, Wintour hijacked the conversation, reminding everyone who truly rules fashion. For 37 years, Wintour has steadfastly pushed fashion to the forefront of popular culture. When Wintour began at Vogue, few people outside the magazine's glossy pages knew the names of the designers at Chanel or Louis Vuitton. Now your barista knows how to say Balenciaga and could be wearing it. By filling Vogue's covers with Hollywood stars such as Nicole Kidman and Jennifer Aniston, along with performing artists Madonna, Britney Spears and Rihanna, she has consistently blurred the lines between fashion and celebrity. Thanks to Wintour's democratisation of luxury, most celebrities now either have lucrative contracts as fashion ambassadors or their own clothing or beauty brands. If you are Kim Kardashian, whose first Vogue cover was in 2014, you have all three. With her signature bob and sunglasses, Wintour has become a star herself, never quite rising above the derisive nickname 'Nuclear Wintour', earned for her no-nonsense management style. 'I have great affection for Anna, but she took to power rather than being the cozy, conspiratorial friend she used to be,' former Vanity Fair editor Graydon Carter told The New York Times in March. 'I'm impressed by her ability to take on more and more responsibility.' Other nicknames came along, including the title from the 2003 book The Devil Wears Prada, written by her former assistant Lauren Weisberger, which went on to become a movie and musical. At the musical's London premiere in December, Wintour told the BBC 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'. Viewers of the 2009 documentary The September Issue were given glimpses of her very Miranda Priestly-like imperious nature and the fear she instilled in designers, eager to win her approval and the fashion pages that came along with it. Stefano Pilati, then creative director at Yves Saint Laurent, memorably trembles when a less-than-enthusiastic Wintour arrives in his studio. Pilati was replaced in 2012.
