Condé Nast, along with Hearst Magazine, is one of the most influential and successful publishing houses in the fashion world. In addition to Vogue (of which there are 21 international editions), it owns other newspapers known all over the world, such as W, Glamor, GQ, Wired and WWD.
A few days ago Condé Nast announced new directives for the future of the publishing house and its employees, which were not long in shaking both the future of the editions of some of the most important newspapers (such as Vogue and Vanity Fair), as well as that of publishing and fashion in general.
Anna Wintour, the famous veteran Editor of Vogue America, thus becomes the most powerful woman in fashion publishing thanks to the new title of Chief Content Officer of all Condé Nast magazines, as well as Global Editorial Director of Vogue.
In addition to handing over the supreme scepter to Wintour, Edward Enninful and Simone Marchetti, former directors of Vogue UK and Vanity Fair Italia respectively, were named “special knights”.
Edward Enninful, on which rumors of his alleged rise to power in Vogue America indulged (now miserably denied by the excessive power of Wintour; which unlike the rumors that saw her descend from the throne, made her power even more solid), became European Editorial Director.
Simone Marchetti, on the other hand, is the perfect example of successful Made in Italy: after a brilliant past in Repubblica, he is now the supervisor of the Vanity Fair editions, not only in Italy (which he was already managing until now), but also in France and Spain.
After the communication from Condé Nast, the criticisms made themselves heard, as comments on the posts of the various newspapers and information magazines.
The most frequent question is: with the present so uncertain, with the global changes taking place, with the global pandemic that has prompted us to change and revise our priorities, can a woman like Wintour be able to embody all the new values and new needs of a generation like that of the Millennials and Generation Z?
Some compare her mercilessly to Miranda Priestley, the iconic and fictitious director of Runway in “The Devil Wears Prada”: brilliant and perfect, but now belonging to a glossy world that is no longer able to reflect the world of now and therefore unable to meet the needs of a journalist like Runaway (which is none other than Vogue America). In such a varied world, where the heterogeneity of voices and points of view is our super-power, it is right to centralize newspapers that once made their diversity their strength (I remind you of the glossy Vogue America by Wintour, the transgressive Vogue Paris by Carine Roitfeld and the avant-garde one by Italian Franca Sozzani) under a few, oligarchic personalities?
Despite the insights that many journalists and online comments can give us, time will be the only one that can respond.
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