“That’s Part of What We Do”: The Performative Power of Vogue ’s Anna Wintour David Weiss Journal of Magazine Media, Volume 15, Number 1, Spring 2014, (Article) Published by University of Nebraska Press DOI: https://doi.org/10.1353/jmm.2014.0013 For additional information about this article https://muse.jhu.edu/article/773690/summary [ Access provided at 25 Sep 2021 00:42 GMT with no institutional affiliation ] Vogue’s Anna Wintour “That’s Part of What We Do”: The Performative Power of Vogue’s Anna Wintour David Weiss, University of New Mexico
[email protected] Abstract Vogue is universally recognized as the fashion world’s most influential magazine, and its editor Anna Wintour routinely hailed as the most powerful person in fashion. Wintour’s power, however, extends far beyond her influence on readers’ clothing tastes and purchases. Acting behind the scenes as consultant, kingmaker, power broker, and promoter to the fashion industry, Wintour inserts herself into fashion’s creative, business, and marketing practices, thus shaping the contours of the world her magazine purports to merely cover. In doing so, Wintour enacts her own interpretations of a number of foundational media theories and suggests ways to expand our understanding of the scope of media effects. Keywords: fashion industry, gatekeeping, magazine editors, media effects, media theories, Vogue Introduction “Everywhere she goes, the waters part. The entire industry responds to Anna’s taste, her likes, her dislikes” (R. J. Cutler, quoted in Block, 2009). “Anna,” of course, is Anna Wintour, editor-in-chief of Vogue since 1988 and the person routinely described as the most powerful in fashion.1 R.