Earlier this summer, Anna Wintoll resigned from her role as Vogue’s editor-in-chief. However, she still calls Conde Nast Shot as Chief Content Head and oversees magazines from all the renowned publishers (except for New Yorkers). As we speak, Wintour is holding her annual fall event behind the scenes, known as Vogue World, set in Los Angeles for the fourth edition.
And Wintour, who turns 76 next month, is excited about the magazine business. Conspiracy for Condé Nast’s internal work has risen in recent months. Her successor as editor of Vogue’s US editor, Chloe Malle, made waves when she said fashion magazines say fewer than each month. And her appointment of former Vogue employee Mark Guiducci sparked controversy as the new head of Vanity Fair (thought the 36-year-old got a job as a result of a friendship with Wintour’s daughter).
Over the summer, Wintour also visited the White House twice to defend a decline in tariffs on fashion. This is because I was given a 2018 comment that 2018 comments would never be welcomed again at the Annual Met Gala.
Through this, Wintour remains the face of the publishing empire. She wore them in a 21 minute Zoom conversation with Variety (giving her an additional minute over the allotted time).
Back at Vogue World, the live event held at Paramount Pictures Lot will collaborate with Hollywood’s biggest costume designers and fashion houses. The pairing includes Colleen Atwood and Alexander McQueen, Millenna Canonero, Louis Vuitton, Balmain and Ruth Carter, Katherine Martin and Mumiu, Arianne Phillips and Marc Jacobs, Sandy Powell and Valentino and Jacqueline West, all ticket revenue from the event will benefit the casualties of January’s devastating LA Wildfires in January through the Entertainment Community Fund.
Here we will be cooking about the long-standing marriage of film and fashion, the thoughts behind her succession plans, a small sequel called “The Devil Wears Prada 2.”
Why Hollywood for the next edition of Vogue World?
We wanted to support the community that we wanted to go to Hollywood next, and the impacted by Covid and the (workers in 2023) strike.
It combines a veteran film costume designer with an iconic fashion house. What tone are you trying to say?
It doesn’t suggest for a minute that this Vogue world will become a nostalgic attempt to reclaim old Hollywood. It’s about highlighting the incredible work that’s coming out of Hollywood now and how it needs to evolve and modernize. A wildfire broke out after we chose the location, but then the impulse was even more urgent and important. We are grateful for Governor Newsom’s support. David Ellison of Paramount was extremely supportive and a joy to work with.
Many Hollywood rank and file workers require this kind of attention at this point, especially in runaway production.
We are going through periods of extraordinary change in the fashion and film industry. We want to recognize that and help us move things forward. Showing a very special recognition during this show, especially for costume designers.
Speaking of incredible changes, many people have noticed that they have recently visited the White House to talk about Tarif. What was the outcome of that meeting?
I’ve been twice. The President, Vice President and Chief of Staff were incredibly open to everything we were talking about. The fashion industry itself is already under high tariffs at 12.5%, so anything on top of it can be stacked up. We want clarity and see the reality that there are small businesses. Customs duties are about the same as salary. The President has spoken a lot about how important American creativity and American heritage are, especially when he is aiming for the (country) 250th anniversary. How can you support creativity and designers who want to create things in America? Because tariffs are so high, it will become more and more difficult to do so.
The President is not a stranger to the art of the covenant, but did he try to barter the fashionable cover for someone in his family?
It didn’t show up.
Just as Chloe Malle was appointed editorial director for Vogue, there were some major changes this week at Conde Nast. What does “return” from Vogue days mean to you?
I already have a lot in Europe and have visited the Middle East twice. We recently regained our license in Dubai and have had a very successful launch of four titles there. When I first joined Conde Nast, we were a print publishing media company. Now we are looking at content from so many different directions, from a digital, video, and even cinema perspective. Our title has individual studios. Our major events – the Vanity Fair Oscar Party, the Met and the Vogue World – are planning them not only for US companies but also for global collaborators. And clearly, he is a mentor and support for new editors such as Chloe and Mark Guiducci from Vanity Fair. London has an incredible new editor, Talib Choudhry at House and Garden. My focus is to work with the incredible talent we have around the world.
Editing Vanity Fair is an important job in Hollywood. How do you think Mark has done it so far?
I think you need to give him a bit, but he’s really focused on finding a new voice. His vision will begin to settle for the awards season from November to December. I was very impressed with what he was thinking. He is a very supportive person and his team is excited and pleased to work with him.
When did you meet Mark?
His first job was at Vanity Fair. I don’t know if I met him there, but I hired him at Vogue soon after. He works very closely with me. When I was talking to him about his position at Vanity Fair, we decided to give him a job, I said, “Mark, I’ll do this job, but you have to be a partner in my Vogue world. I’m excited to have him.
Some have pointed out that the title “Editor-in-Chief” has become obsolete. I am currently using the “Editor Director.” What are the thoughts behind that choice?
It’s about changing the title and coming up with what people in those positions actually do. Our idea was that the “editor-in-chief” represented a certain amount of time. All of our editors have their names in the heart of the big circle where all these spokes come out, no matter where they are in the world. My current job is to build a community through social, video, film, events, philanthropy and print content. For Vogue, the print is our runway. It may not reach Hugest Audieres as we do with live streaming in the Vogue world, but we show it to a contained world and then push it through the world through various platforms.
The “Devilware Sprada 2” is currently in production. Have you ever imagined this film would have 20 years ago?
I’m relieved to see that everyone is very excited about the script. It’s a great tribute to Meryl (Streep), Anne (Hathaway), Emily (Blunt), and Stanley (Tucci). They all returned with big smiles on their faces. But this also shows just how important the world of fashion is, not just Hollywood. I was at the US Open recently and saw a tennis player heading out to Arthur Ashe and they had a silver tennis ball in her hair. The whole world understands how fashion represents personality and personality, personality and creativity. How wonderful is it? I’m particularly excited about the film coming back, but I’m particularly excited because it shows how resonates with every part of our different communities of fashion.
Is it possible they roped you for a cameo in the sequel?
Now, you’ll have to ask Merrill about it.
When you were appointed editor-in-chief of Vogue in 1988, you were ahead of the curve to understand the importance between celebrities, Hollywood and fashion. How does that appear today?
Reading all these extraordinary respects to Giorgio Armani, he was one of the first to realize the importance of this marriage between film and fashion, and recall how they affect each other, and it was very moving. Today we see designers like Anthony Baccarero. Anthony Waccarello has created works with Emma Stone like Buzz, Chanel and Nicholas Guesquière of Louis Vuitton. We support and praise each other. Fashion doesn’t exist in silos. The runways are affected by so many different factors, and I think the most important thing is the film.
