Anna
As The September Issue rolled toward its general release, Anna was probably thinking more about the ongoing impact of the 2008 recession. The economy’s collapse had made shopping almost taboo—something the haves of the downturn were only doing covertly, if at all, as the have-nots lost their houses in foreclosures—which hurt fashion brands, which
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Director David Frankel was adamant that he wouldn’t participate in an Anna Wintour takedown. “Anna Wintour does extraordinary work and this is going to be a love letter to working women who do excellent work,” he told the studio. He wanted the film to portray “the sacrifices you have to make to do that, and one of the sacrifices is not being so
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While the costs and extravagance have gone up, so have the funds raised. In 2011, the total income was $12.5 million, and the party and exhibit expenses $5 million, for a net sum raised of $7.5 million. In 2018, the total income was $20.5 million and the expenses $8.5 million, for a haul of $12 million.
Amy Odell • Anna
As soon as the gala finished, work would begin on the next one; in the early fall, 7 a.m. meetings at the Met began taking place every four to six weeks. The planning process was a tug-of-war between Vogue/Anna and the Met. The museum’s team wanted to keep the costs and footprint down, while Vogue wanted the party to be the sort of thing that
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Newhouse asked Mirabella to make an announcement to her staff after they met the next day. She called her editors into her office, took a deep breath, and told them that Anna Wintour would, in fact, be the new editor-in-chief of Vogue. Later that day, Newhouse issued two memos, the first announcing Mirabella’s “retirement” and the second announcing
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There was really just one woman who could deal with the pressures of running Vogue—working with Newhouse, keeping Liberman involved but not depending on him, cutting Liberman’s bloated staff, updating the magazine to compete with Elle, and not doubting herself along the way. That woman was Anna Wintour.
