by The departure of Anna Wintour as editor -in -chief of the American Vogue leaves a greater absence in the fashion world than the departure of a designer or a super model would leave.
For more than three decades, Wintour has had the official title of the editor-in-chief of the American Vogue and an unofficial but generally recognized title of the Queen of Fashion. The best place in the house is automatically available for every catwalk show. Like Beyonce and Madonna, they don’t need a surname; Everyone simply describes them as “Anna”, although only a few are brave enough to address them directly. It was a constant, royal presence, crowned by the characteristic shiny bob and ubiquitous sunglasses.
Wintour Status was not only built on ego, but also how much it did for fashion. It has increased the place of fashion in culture beyond any recognition. The ambition and bravery of fashion today von Louis Vuitton, who sets the Grammy winner Pharell Williams as a creative director and takes over an entire district of Central Paris for his debut show, to blockbuster fashion exhibitions such as the V&A’s Coco Chanel retrospective, which is a big fault with the cold calendar, that has a great fault for the vision of waves. As an early instigator of actors, pop stars and politicians in the cover of her magazine, she instinctively understood that a Vogue cover decreases an immaterial but strong “soft force”, for which celebrities longed for, and that the role of this vogue as a goalkeeper in Washington and in Hollywood as well as in the fashion Weeks of New York, London, London, London, London, London, London and London, and in the miles, in London, London and in the miles and in the miles, and in the miles, in London, London and in the miles and in the miles.
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The caricaturist perception of a woman who is simply powerful because it is over a world of diet subordinate who is petrified by her is far from the truth. Wintour became the fashion world in an empire, made the fashion larger and more powerful and rode up by holding the reins. It is unusual that it is both a glamorous A-list famous, the personal star power, as well as a talented operator behind the scenes, always on maneuvers behind these dark glasses. In the courtyard of the Vogue she was both King Henry VIII and Thomas Cromwell and commanded ceremonial power and at the same time pulled the strings behind the scenes.
However, it is completely true that most people around her are intimidated by her. Her operating mode is similar to that of a military commander: decisions are made quickly and she does not like to suffer. In public, her emotional tone hovers around a cool courtesy that runs on frosty deep stalls if they displeasure or incompetence. This is a persona who is dedicated to the Wintour die private her family, is a passionate supporter of the arts and a funny and phenomenally well-read conversation partner-Hat carefully manufactured. Her picture was anchored in 2006 by the cinema publication by The Devil Wears Prada, in which Meryl Streep Miranda Priestly, a New York fashion editor, played. It was based on a book by a former Wintour assistant, and the main role was generally assumed as modeled.
The imperious “Nuclear Wintour” persona served her well. In 2012 it was generally rumored that Wintour, a fundraiser for the heavyweight for Barack Obama and Hillary Clinton, was in the race to be appointed US ambassador in London. The rumor turned out to be unfounded, but the degree of the gossip mill for the idea of a magazine journalist who was appointed in a high -ranking position in international diplomacy is proof of the Gravitas and the prestige of Wintour Ruf.
Wintour was born into journalism. Her father, Charles Wintour, was the publisher of the London Evening Standard for a large part of her childhood. She started her career in her hometown before moving to New York in the twenties and made the Atlantic the publisher of British Vogue in 1985. This job was just a staging post for the extremely ambitious Wintour, which achieved her goal, to work on the American vogue three years later. Their sharply developed instinct, in which the wind blew from the start: when the printer received the picture for their first cover, they called the Vogue office that there had been a mistake. The photo contained the model Michaela Bercu in a faded blue denim – the first time that jeans had appeared on the cover of Vogue. The young code information that the fashion industry was to change in the last decades of the 20th century has already been indicated.
It is a route to imagine Wintour, whose daily regime started as a publisher at 4.30 a.m. to play one hour of tennis from 6 a.m. and fade in gentle retirement. Her daughter Bee, who works in the theater world, once said that the lesson that her mother had made her children the most was a working morality. Bee remembered the guest next to her as a student who visited a Vogue gala asked to test her for Latin American history, as she had a test in school the next morning. But there is more about Wintour than the Ice Queen picture. Her dedication to tennis is so that she even played from New York Fashion Week when shows with the US Open tournament caught and instead took a place on the square.
The timing – halfway through the men’s fashion fashion shows – made fashion confused, but makes more sense from the perspective of a tennis fan. With Jack Draper, who is prepared to close the gap in the British tennis of Andy Murray, and a smoldering rivalry between Carlos Alcaraz and Jannik Sünd is the loss of Vogue, but the win of SW19.
