During her more than 30-year career in magazine publishing, Wintour has earned a reputation as detached and cold. They say she is a demanding and hard-working boss that Wintour does not deny. In 2003, Lauren Weisberger, one of Anna Wintour’s former assistants, published the book “The Devil Wears Prada” based on her experience in Vogue magazine. The book was filmed in 2006, and Anna Wintour made headlines and fashion magazines when she appeared in Prada at the premiere.
In August 2009, Anna Wintour became the hero of the documentary “September Issue” with the premiere of the September issue of Vogue magazine. The documentary for the first time demonstrates the hard work done for the issue of Vogue magazine.
Forbes magazine recently reported that although the documentary is billed as “the real devil wears Prada,” Wintour is usually portrayed as a professional and perfectionist with a well-defined vision and inferiority complex that becomes apparent when she speaks admiringly of herself. three brothers and sisters who consider their profession “funny”; Sister Wintour, for example, lobbies for farmers’ rights in Latin America. ‘
Anna Wintour was born in 1949 in London, England, the son of the newspaper’s editor Charles Wintour and his wife, the philanthropist Eleanor Wintour. As a teenager, Wintour dropped out of school and instead went on to live a life revolving around the posh London life of the 1960s, attending the same London clubs with major pop celebrities and musicians such as The Beatles and The Rolling Stones.
For Vogue magazine, Anna Wintour started out in The Fashion Department of Harper’s and the queen in London. Over the years, she has risen the career ladder, moving from magazine to magazine from New York to London. In 1976, she moved to New York and became editor of Harper’s Bazaar fashion magazine. After staying at Viva magazine after Harper’s Bazaar, Anna Wintour took a job at New York magazine in 1981. Wintour was motivated from the beginning and had her own sense of style and direction. In 1986, she returned to London as editor-in-chief of the British Vogue magazine from the publishing house Cond’ Nast.
It was in British Vogue for Wintour’s chilly demeanor that he received unforgettable nicknames: “Nuclear Wintour” and “Wintour of Our Discontent.” In 1987, she moved to another magazine, Cond’ Nast, Home and Garden, where she dramatically changed the name of the magazine to HG.
While subordinates complained about Wintour’s management style, the top managers of Cond’ Nast clearly supported his decisions; she received a salary of more than $200,000 plus an annual allowance of $25,000 for clothing and other benefits.
In 1988, Anna Wintour left HG magazine and became editor-in-chief of Vogue magazine with one goal: to restore Vogue magazine as a fashion authority. By the time of its appearance, Vogue magazine was giving up its position to a three-year-old upstu forth, Elle magazine, which has already had a paid circulation of 850,000 copies. Vogue’s subscriber base, meanwhile, did not exceed 1.2 million.
In more than two decades of working with Vogue magazine, Wintour has more than achieved her goal. She managed to restore the supremacy of Vogue, and today the magazine is nicknamed the “fashion bible”.
Despite her criticism, Anna Wintour has made many influential decisions affecting the magazine industry as a whole. She popularized by putting celebrities instead of models on magazine covers; she mixed inexpensive fashion items with expensive ones in her photo shoots; she supported unknown fashion designers and made the careers of Marc Jacobs, Alexander McKuin and John Galliano.
While Anna Wintour has received a lot of attention for her estranged behavior and contribution to the fashion world, many ignore her commitment to philanthropy. Part of her generosity includes raising money for the Twin Towers Foundation after the 9/11 terrorist attacks, and together with the Council of Fashion Designers of America, she helped create a new foundation to encourage and support budding designers. Each year, she also raises funds for the Metropolitan Museum of Art’s costume department, which has raised about $50 million over the years. This event attracts many celebrities and is ruthlessly illuminated in fashion, corporate and star magazines.