Anna Wintour is seeking a new Vogue editor-in-chief but will maintain editorial control
NEW YORK (AP) — Anna Wintour is stepping down as Vogue editor in chief but will retain editorial control over the storied magazine.
The longtime Vogue powerhouse is seeking a head of editorial content to handle more of the day-to-day operations but is holding on to plenty of power to keep her a force at the magazine that built her reputation in fashion, a person familiar with the decision said Thursday.
Wintour will remain chief content officer for Condé Nast and global editorial director of Vogue, said the person who was not authorized to speak about the change publicly. She broke the news to Vogue staff in a meeting earlier Thursday.
The news shook the fashion world and Wintour-watchers on social media amid breathless headlines that she was 'stepping down' from Vogue. The new lead will report directly to Wintour in her capacity as global editorial director, the person said.
As chief content officer, Wintour will continue to oversee every Condé Nast brand globally, including American Vogue, Wired, Vanity Fair, GQ, AD, Condé Nast Traveler, Glamour, Bon Appétit, Tatler, World of Interiors, Allure and more, with the exception of The New Yorker.
Wintour also oversees the annual Met Gala, fashion's biggest night and a major fundraiser for the fashion wing of the Metropolitan Museum of Art. And she'll remain involved in Vogue World, a traveling fashion and cultural event the magazine began in 2022.
Four years ago, Condé Nast changed its editorial structure, bringing together editorial teams around the world for the first time. Every market where Condé Nast operates has a head of editorial content led by a global editorial director. The new role at American Vogue is part of that reorganization. The new structure has already been rolled out at other Vogue titles around the world.
The company will not seek an editor in chief to replace Wintour at American Vogue, replacing that title with the new head of editorial content. The idea is to afford Wintour more time to tend to other titles in her portfolio.
Wintour transformed Vogue during her decades at the magazine. She was named creative director in 1983, served as editor in chief of British Vogue from 1985 to 1987 then rejoined the American title as editor in chief.
She modernized the magazine by featuring celebrities on its covers and mixing high fashion with more affordable street style. She championed emerging designers, including Marc Jacobs, Alexander McQueen and John Galliano, and broadened the brand's reach by adding new titles around the world.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
17 minutes ago
- Yahoo
Slumlord Millionaire: how landlords, politicians and developers are fueling the housing crisis
The trouble began when the ceiling above the toilet collapsed. The Bravo family lost hot water and heat – sometimes the temperature would drop to 20F – and they had to boil water to bathe. Nathan, the youngest in the family, has asthma and needs a machine to help him breathe. A doctor blamed mould and cockroaches. Related: 'A cynical ploy to hold power': how the US right has exploited racial division 'It was because of a leak,' says his sister Samantha Bravo-Huertero. 'When someone doesn't fix it, it does start filling with mould. It's disgusting to see. The landlord, her solution was to paint over it. You've covering it but it's still there. Like, you're not fixing it!' It's a story that could be told in any of the world's poorest countries. But it is happening in the 21st century in 'the greatest city in the world', as Lin-Manuel Miranda put it in Hamilton. The Bravo family live in New York – Sunset Park, Brooklyn, to be precise – and are experiencing the dark side of the new gilded age. Their 15-year struggle with an abusive landlord who targeted Latino families is among the stories told in Slumlord Millionaire, a documentary directed by Steph Ching and Ellen Martinez that explores the housing crisis in New York, focusing on the impacts of gentrification, predatory landlords and developer influence on the city's residents. 'We wanted to showcase how interconnected all these systems were and dig more into the roots of why this housing crisis exists and how it continues to persist,' Ching, 37, says via Zoom from Brooklyn. 'Looking at how real estate money feeds into the politics of our city. There are these same issues that impact not only tenants but also homeowners.' New York is the US's biggest city but increasingly unaffordable for the average American. Some 69% of its residents rent. A third of New Yorkers spend more than 50% of their income on rent. The average Manhattan rent now stands at $5,000 a month. The median rent nationwide has surpassed $2,000 a month for the first time in history. As rents increase, some landlords have become more aggressive in trying to get long-term tenants to move out of their homes. A major theme of Slumlord Millionaire is the unethical and often illegal methods used to push out existing, often rent-stabilised tenants to make way for higher-paying residents. These tactics include neglect (ignoring repairs, turning off heat and gas, doing nothing to eliminate vermin infestations), creating uninhabitable living conditions (rats 'will come marching in, almost like troops', says one woman), and engaging in verbal and physical harassment. The 86-minute film exposes the influence of wealthy real estate developers on local politics and legislation. This is exemplified by the onslaught against Moumita Ahmed, who ran for election to the city council in Queens with a pro-tenant agenda. Ching explains: 'Her campaign was viciously attacked by a Super Pac [political action committee] that was started by these billionaire developers who put a million dollars into it. 'Everyone is familiar with big real estate money in politics, especially on a national or even state level. But for it to trickle down to these smaller local elections was eye-opening to us and shows how much hand the real estate industry has in all of our politics and, as a result, the legislation that gets written in our city.' Meanwhile, the 421-a tax break, an incentive programme intended to encourage development, has disproportionately benefited luxury housing developers at a significant cost to the city, resulting in billions in lost potential revenue. The rent guidelines board, appointed by the mayor, determines rent increases for nearly half of New York apartments, illustrating a direct link between political power and rent affordability. A mayor bankrolled by the pro-developer lobby could choose to stack the board with anti-tenant individuals. Martinez, 37, who used to live in a rent-stabilised unit, says: 'I remember my rent going up a random amount and I had no idea that this was actually a thing that you could go see and also that it was so directly tied to the mayor. 'There's a lot of candidates in the race for mayor right now who are promising rent freezes and that is something they are able to achieve because they do appoint this board of people that determines the rent each year for stabilised units.' Slumlord Millionaire also sheds light on the lesser-known but devastating issue of deed theft, in which scammers target homeowners, particularly in historically Black neighborhoods, and steal their properties through fraudulent means. One example is Janina Davis, a former supermodel who is trying to reclaim her home after a deed theft scam. Ching adds: 'We did want to show how it's not just tenants versus landlords. It's these big money real-estate industry developers against your average resident here. 'Janina was a smaller landlord but she had been able to buy this beautiful brownstone in Brooklyn. She actually wanted to expand her building. She wasn't in any sort of financial issue or anything. A lot of times when people talk about deed theft they think people are not educated enough and it's their fault that they got scammed. 'But Janina is super well educated – graduated from Howard University with an economics major – and she was scammed out of this building by these developers who gained her trust and went into business with her and, through the course of years and all this paperwork, stole her home from her.' The low prosecution rate for deed theft allows scammers to operate with little fear of significant consequences. The crime is often racially motivated. Martinez comments: 'The racial dynamic is very clear. The deed fraud case is overwhelmingly people of colour targeted. Historically Black and brown neighborhoods in Brooklyn are being targeted. 'We have a scene, it's a hearing to discuss deed fraud – there's some politicians there – and literally it's an entire room, basically, of African American people that were victimised by deed fraud. It's extremely clear. People are now calling this a new form of redlining, where they don't want certain people to own homes.' Despite the overwhelming power dynamics, the directors point to the resilience and efforts of residents, activists and non-profit organisations fighting back. Examples include the Bravo family's advocacy for the Asthma-Free Housing Act and victory at the Human Rights Commission, community organising efforts in Chinatown against luxury towers, and Ahmed's campaign as a renter advocating for tenants' rights. Ching reflects: 'This is an issue that is happening throughout not just New York City but in other cities in the country, especially in places that are predominantly people of colour. Remember that you are not alone. There are resources that exist. Definitely use the voice that you have. Any form of community engagement is very helpful.' Slumlord Millionaire is now showing at DCTV in New York with more cities to follow. It will premiere on PBS on 28 July
Business of Fashion
36 minutes ago
- Business of Fashion
For Makeup that Performs, Look to Drag Queens
It almost sounds almost naive to say that the underground performance artists known as drag queens are in no small part responsible for the 21st century beauty boom, i.e. contouring, cut creases and maybe Kim Kardashian. But the truth is that drag has infiltrated popular culture in almost every way, from pop star imagery to Hollywood franchises to the way we present ourselves. If RuPaul's famous catchphrase is a cliché, it's only because it's true enough to be rote: You're born naked, and the rest is drag. 'You see people wearing lashes on a daily basis,' said the makeup artist David Petruschin, better known by her drag alter ego Raven. 'You see people at a fast food window who are completely contoured and highlighted.' Some queens are only just beginning to cash in. A newly created pipeline, powered in large part by RuPaul Charles' 'Drag Race' universe, which is owned and operated by production company World of Wonder, has delivered some performers to mainstream business success as the faces, formulators and founders of makeup brands. These businesses take on a variety of structures. Mo-Beauty, by the drag queen Mo Heart, is produced by Gostrider, a consumer goods portfolio which owns a majority stake. The Barbiesque Trixie Mattel owns her label Trixie Cosmetics outright, which staffs about nine employees in an office in Burbank, California; it's one of many of Mattel's projects, including shows, a Palm Springs motel and a show about said motel. But both beauty businesses are small compared to competitor brands, and sold only via e-commerce. Trixie Mattel owns her label Trixie Cosmetics. (Courtesy) Then there's Kimchi Chic, founded by the Korean-American drag queen Kim Chi, and the most successful makeup venture to come out of the Drag Race universe to date. The brand has scaled up to $20 million in annual revenue, said a person with knowledge of the company's finances, driven by far and wide distribution — the brand launched in CVS in 2022, came to Amazon in 2024 and has grown explosively on TikTok Shop in the past year. Success depends on good partners. Chi had an early one in Nyx Cosmetics and Bespoke Beauty Brands founder Toni Ko, who approached the queen about partnering on a makeup line in 2018. On its face, putting a drag queen in the seat of a makeup company could be seen as a bankable strategy: Who among professionals better understands both the art and performance of cosmetics? On the other hand, the strategy is not without risk, as drag queens have become targets in the greater culture war. Their default association with progressive politics gives these brands more volatility than typical celebrity or influencer-led ventures. For these brands, that's the point, not the problem. 'We will always champion our drag community,' Tank said, 'in every way that we can.' Partner Up 'Most drag and cosmetics careers intersect,' said Raven, who in her early career worked at the MAC Cosmetics counter by day and performed in clubs by night. But she quit the counter to focus on one-on-one clients after discovering she didn't have the merchant's heart. 'It was hard for me to find the balance between selling and artistry,' she sighed. If RuPaul is the face of drag, it's painted by Raven, who became the diva's makeup artist after impressing her with her technique as a contestant on season three of 'Drag Race.' She estimates she has put Charles in drag between 400 and 500 times — now she hosts a World of Wonder show called Painted by Raven. The two have MAC Cosmetics in common, with the elder queen kicking off MAC's Viva Glam campaign benefitting AIDS research in 1994. (The brand was acquired by the Estée Lauder Companies the same year.) The first season of 'RuPaul's Drag Race,' produced by World of Wonder for the Logo TV channel, attracted a fair share of LGBTQ friendly corporate sponsors; the final four contestants made dresses inspired by Absolut vodka flavors. The show's initial beauty sponsor was Ko's Nyx Cosmetics, but Anastasia Beverly Hills took over in season 7. RuPaul bellows the brand name in the intro of every episode, thanks to Claudia 'Norvina' Soare, the company's president, daughter of founder Anastasia Soare and 'Drag Race' fan, who initiated the partnership. Randy Barbato and Fenton Bailey, the founders of World of Wonder, said they didn't have a sense of how successful the partnership has been. 'I feel like there's been mutual growth with both their brand and our brand,' Barbato offered. But 'it's equally or more exciting to watch [sponsors] look at queens as viable and serious partners for their businesses.' These partnerships are key to drag businesses — everybody needs the Raven to their RuPaul. Kimchi Chic has found a great partner in Bespoke Beauty Brands, which has leveraged its founder's charisma on TikTok Shop to drive sales growth. CEO Tank said that founder Chi drives sales in part through 'megalives,' hourslong streams with product demonstrations and special guests. Founder Kim Chi drives sales in part through 'megalives,' hourslong streams with product demonstrations and special guests. (Courtesy) 'TikTok Shop was a game changer for us,' Tank said. The app is a hotbed of users in their teens, 20s and 30s who are perfectly targeted by the brand's accessibly priced products; the hero Stage Proof setting spray, she points out, is $16. Tank said this year, the brand intends to be even more disciplined with its capital, with the aim of reinvesting money in product development. 'Innovation is queen in beauty,' Tank said, adding that TikTok provides a live 24/7 focus group. 'We develop products and launch them, many of them, just off the back of TikTok Shop and TikTok feedback.' Audrey Napoleon, whose portfolio is called Gostrider Brands, tapped Mo Heart of 'Drag Race' to create Mo Beauty, which launched in 2021. Napoleon's background in the music industry left her with an affection for helping performers build viable second income streams, even if doing so extends beyond Gostrider's purview. Monique Heart, founder of Mo Beauty. (Courtesy) 'If Mo ever comes [to me] and she's like, 'Covergirl called me and said they're gonna give me X amount of dollars to do this,' we're saying, 'Girl, go do that.'' Napoleon said. You Better Work Napoleon's insight reveals an underside to the drag boom: Performers have become products too. Those with good partners can find footing, but many are going it alone. As the world's drag stage continues to crowd, it takes investment to stand out. Most queens revenue streams come primarily from club tips, though the 'Drag Race' universe has helped some access the opportunities of influencers and RuPaul-level celebrity. By contrast, a single pageant gown can cost a couple thousand dollars, to say nothing of wigs and jewellery. The expenses multiply for queens in the 'Drag Race' universe, many of whom are plucked from the club circuit but must arrive to their TV debuts with full, camera-ready wardrobes. Lexi Love, a long-limbed drag queen from Kentucky in the US and finalist on the most recent season of 'Drag Race,' took out a second mortgage to, as she put it to Pride Today's Ricky Cornish, 'gag you on these runways.' Love estimates she spends about $1,000 a month on makeup; not as an indulgence, but an occupational hazard. 'I can't go out with, like, Chapstick and mascara!' she cried. It's true that the beauty industry continues to offer meaningful support to the drag community. (While Love didn't take home the show's grand prize of $100,000, she was 'tipped' $10,000 by Anastasia Beverly Hills.) But there's room for more, and not just in the context of 'Drag Race' or the month of June. 'Drag is inherently entrepreneurial,' Bailey said. 'People put on a suit and go to work on Wall Street, drag queens puts on a wig and go to perform. Often, drag artists show a keener sense of innovation and a stronger intuition about their audience. They are sharp, and they are real leaders in the field.'
Los Angeles Times
39 minutes ago
- Los Angeles Times
Lalo Schifrin, award-winning composer known for ‘Mission: Impossible' theme, dies at 93
Lalo Schifrin, the six-time Oscar nominee and prolific composer best known for his Grammy-award winning 'Mission: Impossible' theme, has died. He was 93. Schifrin died Thursday morning at a hospital in Los Angeles, his son Will Schifrin told The Times. He reportedly died of complications from pneumonia. The Argentine-born composer was known for his ability to infuse elements of jazz, rock and funk into classical orchestral music, and is credited for helping to change the sound of movies. Schifrin was recognized for his scores on films such as 'Cool Hand Luke' (1967), 'The Fox' (1967), 'Voyage of the Damned' (1976), 'The Amityville Horror' (1979) and 'The Sting II' (1983). In 2018, Schifrin was presented an honorary Oscar from the Academy of Motion Picture Arts and Sciences. Schifrin wrote more than 100 scores for film and television over the course of his Hollywood career, including for films such as 'Dirty Harry' (1971), 'THX 1138' (1971), 'Enter the Dragon' (1973) and the 'Rush Hour' trilogy, as well as TV shows including 'The Man from U.N.C.L.E.' and 'Starsky and Hutch.' 'I learned to be a chameleon,' Schifrin told The Times in 2018. 'In motion pictures, the real creator is the screenwriter and the director and the producer. I have to work for what they have made. Like a chameleon, I do whatever is necessary.' In 2011, Schifrin modestly described himself as simply a 'music maker.' While the catchy theme for the spy series 'Mission: Impossible' remains one of his best known pieces, Schifrin told The Times in 2016 that 'it was just work.' 'For everything I've done, I did my best,' Schifrin said. 'I like what I did. I don't think it's a masterpiece, but it's OK. ... If people like it, to the point of embracing it, great. That doesn't happen too often.' Born in Buenos Aires in 1932, Schifrin was exposed to music from a young age. His father Luis served as the concert master of the Philharmonic Orchestra of Buenos Aires at the Teatro Colón. And he was just 5 years old when a trip to the movies with his grandmother made him realize that it was the music that helped make the horror film so scary. Schifrin began studying piano under Enrique Barenboim, the father of pianist and conductor Daniel Barenboim, when he was 6. He discovered and fell in love with modern American jazz as a teenager. Upon the suggestion of one of his teachers, he applied for a scholarship to attend the Paris Conservatory. During his time there, he made money playing at jazz clubs. After returning to Buenos Aires, Schifrin started his own jazz band to perform at concerts and on TV. He eventually met American jazz trumpeter Dizzy Gillespie, who invited him to come work for him in the U.S. In 1963, while he was working with Gillespie after moving to New York, Schifrin was offered a job in Hollywood. 'My first movie was called 'Rhino,'' Schifrin told The Times in 2011. 'It was a low-budget movie, but it was the beginning.' Schifrin is survived by his wife, Donna, and his children, William, Frances and Ryan.
