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back

over okay Anna winter yes my way now

Anna winter you are a power you're

wearing your dark glasses I'm I'm not

sure that I expected you to wear them

during the interview but I know that you

do wear them inside

I know many people are curious about who

I am how I approach my work and what I

believe I've been so lucky to work in

the fields of both fashion and in

journalism and for over 30 years as

editorinchief at Vogue and now as

artistic director of

kinast I have never had the opportunity

to share the many lessons I have learned

as an editor and as a creative leader in

one place

before this is a class for those who

want to understand the experiences that

have helped me become an effective

leader I'm Anna winter and this is my

master class

I was lucky enough to to grow up in a

house full of journalists my my dad was

an editor-in-chief of a Fleet Street

newspaper for many many years and I saw

the way that he worked in those days

there were maybe 14 15 editions that he

was putting out every day starting with

the racing edition first thing in the

morning so there was never any time to

make mistakes or second guess it was

just one two three four so obviously

that informed my childhood it certainly

informed the way I am and it has

informed me as an editor

myself I grew up in London in the 60s in

a world of media and journalism but also

I think probably unknowingly at the time

when a huge Cultural Revolution was was

going on I mean duchesses for the first

time were sitting down with fashion

students or fashion design ERS and the

class barriers were being broken down in

a way that had never existed in that

country which where Society was based on

where you went to school and what your

accent was so that was all being thrown

up and questioned when I was was growing

up and it was the whole world of Twiggy

and jeene shrimpton and Bailey and blow

up was all going on around me and I

think epitomized by music and film and

of course fashion I mean it was

impossible possible not to be aware and

excited and and to feel that the world

belonged to the

young I was so lucky to start my career

in London where everybody had to do

everything CU there was no money and I

learned uh how

to go into the market and choose clothes

I learned how to choose talent I learned

how to collaborate I learned how to do a

layout I learned how to write caption

I was thrown into my career frankly with

ignorance I I knew nothing and because

nobody could afford assistance in those

days I was never even an assistant you

had to learn everything you had to do

everything you had to know how to

multitask I think it also gives you a

certain strength that you're not stuck

in one box I just started as an editor

they told me to go on a shoot and it was

at this amazing time in London that I

was so aware of and going to the shows

and the birth of salur and and the

Rolling Stones and nightclubs and people

just living a little bit on the edge so

it was it was just like looking at that

world and trying to bring it back and

put it into the shoots I was a sponge I

was able to pick it up just from seeing

what was going on around me I had no

kind of formal training and I was not a

good editor I was terrible on shoots I

was bad I was so happy to give it up it

was just not my strong suit but it did

help me understand what uh what went

into them and and how you needed to be

so much more patient than I ever was and

that you needed to see an image that you

needed to see a photograph you needed to

be able to reflect a culture and what

was going a society and what was going

on at the world or something that wasn't

just straightforward and

Commercial and at that time Grace

codington was working at British fogue

and I began to look at her work with

such admiration where I could see that

she had a vision unlike anybody else and

that she was seeing fashion as a

narrative she was seeing it as a

reflection of

society and I think that her work really

did influence me at the time and it was

always my dream to be able to work with

Grace so that was one very strong

influence when I was growing up

when I moved to New York and eventually

landed a job at New York Magazine as a

fashion editor my training in London

helped me enormously because there was

nobody at New York magazine that had any

particular interest or certainly had any

skill sets that were to do with fashion

and I think that one of the fashion

stories that I was responsible for was

probably the story that brought me over

to Vogue and this was a shoot where I

asked a number of prominent New York

artist to paint the collections and it

caught the eye of Alex liberman who was

the editorial director of con Nast at

the time I think that I

am very driven to keep learning I'm very

driven to

always keep me meeting new people I'm

always very interested in hearing

opposing ideas I'm very interested in in

traveling I'm very interested in seeing

what else is going on in the world that

it doesn't exist uh only through the

world of media or fashion or the worlds

that I am most familiar with I think

obviously having

a a career that gives you Joy and

creative wonderful creative experiences

is so important and to enjoy it and to

make friends and to establish

relationships and to collaborate but

there also has to be a deeper meaning to

understand and what it is that you're

standing for and I think that's what we

we've always tried to do here both at

kast and

vog in this class I will be teaching my

approach to leadership and how I've

dealt with criticism how I like to make

decisions how I manage people and give

feedback how I make editorial choices

that have impact and speak to the

moment and how I have helped to evolve

Vogue with a times controversial

choices as I move through the class I am

going to be giving specific lessons for

young designers photographers editors

and those working in fashion

journalism I will be giving you a

glimpse of the cfda vog fashion fund

process I will also take you behind the

scenes of planning the Met Gala to show

you the intricacies of problem solving

attention to detail and

collaboration if there's one thing I

hope you take away from this class it is

to own your decisions and to own who you

are but without

apology we're working in a golden age of

Journalism a golden age for fashion

because there's so many different ways

as you will discover hello Joe that you

can talk to your audiences and they're

all different and they're all viable

they're all real and they're all

thrilling so I think that you will will

find a voice and a way to express who

you are and what you believe in in so

many different ways than than it was in

the past