Speaker 1: I'm super excited. I'm back in New York City. Here
Speaker 1: at Via Coroda, my favorite Italian restaurant in New York
Speaker 1: on Grove Street. If you are ever in New York, please, please, please,
Speaker 1: you must check this place out. It's just delicious, look amazing.
Speaker 1: Thank you, thank you. Have you been here for? Today
Speaker 1: is really special because we are having lunch with a
Speaker 1: woman who doesn't usually make time to be away from
Speaker 1: her desk at lunch. That is true. I'm more of
Speaker 1: a breakfast present. She's an icon. She's a big deal
Speaker 1: to me in my life, to the city. I think
Speaker 1: she is fundamental in the fabric of New York and globally.
Speaker 1: We're having lunch with Anna Winton, So guaB a cocktail or.
Speaker 1: If this is a working lunch for you, maybe a coffee.
Speaker 1: I really hope you enjoyed this conversation. Anna took time
Speaker 1: out of her schedule for us on a brisk afternoon
Speaker 1: last doctor. I'm Bruce Bosi, and this is my podcast
Speaker 1: Table for two. Today. Everybody, we're having lunch with Dame
Speaker 1: Anna Winter, who doesn't usually make time for lunch. I
Speaker 1: think outside of your desk? Is that true? I find
Speaker 1: that lunch tends to interrupt the day, and to be
Speaker 1: completely honest, since we moved to the World Trade Center,
Speaker 1: it's sort of an isolating neighborhood anyway, and so leaving
Speaker 1: the building seems complicated and difficult, so I tend to
Speaker 1: when I get there, I tend to stay. It is
Speaker 1: a little remote. It's remote, particularly since COVID, it's become
Speaker 1: quite or not desolate, but empty. But I'm so lucky
Speaker 1: in my office because I have this extraordinary view not
Speaker 1: only all over Manhattan but onto the Memorial and it's
Speaker 1: actually I love being actually physically in my office because
Speaker 1: it's such a remarkable reminder of the resilience of people. Yeah,
Speaker 1: so I'm taking you out of your day. What does
Speaker 1: the day look like to Well, I get up early
Speaker 1: fish and I usually go to my trainer and that
Speaker 1: has become quite a bizarre walk because I walk there
Speaker 1: and he's on twel Street, and now that it's dark,
Speaker 1: I walk or around Washington Square, which is you know
Speaker 1: and interesting, you know quite know what you're you're going
Speaker 1: to see. So I spend an hour with Daniel, who's amazing,
Speaker 1: and then usually I run back and then my day
Speaker 1: kicks in, sometimes with phone calls to the many territories
Speaker 1: that Condenast operates in, or I just go straight to
Speaker 1: the office, or sometimes I'll have a breakfast meeting with
Speaker 1: people that are in from out of town. I've got
Speaker 1: someone who likes a long meeting. I like to have
Speaker 1: a reason for the breakfast or the lunch and not
Speaker 1: nothing that's so social. And then I've worked of the
Speaker 1: day many meetings with all the different brilliant editors that
Speaker 1: I have the good fortune to work with a Condonast
Speaker 1: or some members of the yelt at condon Nast, or
Speaker 1: outside appointments occasionally, or meetings with the met you know,
Speaker 1: I try and do things that a part of the
Speaker 1: reason that one lives in New York, because New York
Speaker 1: has so so much to offer and a theater, as
Speaker 1: you know, we share that in comments. We're going to
Speaker 1: talk about that. We're going to talk about your love
Speaker 1: with theater. And so I can't get over that you
Speaker 1: walk five in the morning to the gym, and I mean,
Speaker 1: so you just you get up and you go. Yes.
Speaker 1: First of all, you look amazing, thank you, thank you,
Speaker 1: very good lighting. It's good lighting. You're in like red
Speaker 1: floral dress is beautiful. Thank you It's It's a It's
Speaker 1: A It's a Money dress by Francisco Rizzo. I love
Speaker 1: what he's doing on money. I think it's so creative
Speaker 1: and fun. And he had an amazing show during New
Speaker 1: York Fashion Week, which is one of the best New
Speaker 1: York Fashion Weeks that we've had in a long time,
Speaker 1: because I think that we were sort of fully open.
Speaker 1: Prins Covid and a lot of outside people came, including
Speaker 1: a wonderful Kim Jones from Fendi that did a partnership
Speaker 1: collaboration with the great Mark Jacobs, which I was told
Speaker 1: was built around the burguette, which seemed to involve cameos
Speaker 1: from Sarah, Jessica Parker and Linda Evangelista. But Francesco, who
Speaker 1: was an amazing Italian designer that was much Prada's right
Speaker 1: hand for a long time, and I think was tap
Speaker 1: Renzo at Many about five years ago for the very
Speaker 1: first time he brought his show to New York, and
Speaker 1: he chose to show right under the Brooklyn Bridge, an
Speaker 1: amazing orchestra and a great cast including people like Tyler
Speaker 1: Mitchell and Erica Badoux, and it was just to have
Speaker 1: obviously our usual cast of characters but also brilliant designers
Speaker 1: from other parts of the world were I think just
Speaker 1: fashion is global today, so to have that mix was marvelous.
Speaker 1: And then of course it ended with the great Tom Ford,
Speaker 1: who whenever he shows a new or lives all of
Speaker 1: us as he does. He recently was on Table for
Speaker 1: two and he is. He's an incredible man and he is.
Speaker 1: He said on Table for two, anyone overthrew you shouldn't
Speaker 1: go out during the day. That yes, yes, well if
Speaker 1: you look like tom Ford you can die. And he's
Speaker 1: any time. Everyone. One of the things that you consistently
Speaker 1: do with me when you see me, you always ask
Speaker 1: about me. You asked about me when my family lost
Speaker 1: the business and was going through rough times. You asked
Speaker 1: about my family, You asked about me, You asked about
Speaker 1: the things I was working on. You are so generous
Speaker 1: that way, and quite honestly, not a lot of people
Speaker 1: did you know. It's weird how people don't want to
Speaker 1: they don't sometimes really want to get real. And that
Speaker 1: always impressed me and it meant a lot to me.
Speaker 1: And so my question really is with you know, having
Speaker 1: the job you do, which is the chief content officer
Speaker 1: for counting to ask you're so busy. How do you
Speaker 1: make time for friends to give advice to people? How
Speaker 1: does that come into your life in such a way. Well,
Speaker 1: thank you for saying that. I really appreciate it. It's
Speaker 1: I'm so lucky that I have the platform that I do,
Speaker 1: and it does put me in a position to help
Speaker 1: people and to connect people, and I get a huge
Speaker 1: amount of pleasure, whether it's working with my chiefs of
Speaker 1: content around the world or you, or whoever it may be,
Speaker 1: in learning about their lives and what they're thinking and
Speaker 1: what they're doing, and if there is any way that
Speaker 1: one can be helpful. I feel, you know, I had
Speaker 1: amazing people that helped me when I was starting out,
Speaker 1: and I think it's it doesn't require anything but one's time,
Speaker 1: and I think that's just so important to give when
Speaker 1: people are rushing so madly. And I also think, particularly
Speaker 1: right now, when things is so tough and we've all
Speaker 1: come out of COVID and the world is in the
Speaker 1: state that it's in, that to make time to help
Speaker 1: and connect people if one can, is so important. I
Speaker 1: also think it's really really important to be focused because
Speaker 1: you can't do everything and you can't help everyone, so
Speaker 1: you think about where you do have areas of expertise
Speaker 1: or you can put people in touch that will be meaningful.
Speaker 1: So I think being focused and being clear and also
Speaker 1: being transparent people respond to that. I've worked in my
Speaker 1: career with and for people that maybe haven't necessarily been
Speaker 1: that clear, and it's incredibly frustrating. And I think as
Speaker 1: long as people know it's a yes or it's a no,
Speaker 1: or I can help you or I'm really sorry, I'd
Speaker 1: love to help people I'm not able to is better
Speaker 1: than pretending or faking. And so that's what I try
Speaker 1: as much as possible to do because I have been
Speaker 1: whether I am, when people have made promises or sort
Speaker 1: of not been clear and what they're saying or doing,
Speaker 1: and it's you just waste everybody's t time. I so
Speaker 1: respect that about you. One of the things, too, that
Speaker 1: you are so committed to are the charities in your
Speaker 1: life and giving back and giving back. And you know,
Speaker 1: I can remember when you really enlistened all the for
Speaker 1: amphar with Bono to raise money for AIDS and got
Speaker 1: you know, everyone in New York really came out and
Speaker 1: you and Tom recently created common Thread and also the
Speaker 1: met Gala and I guess my question to you is,
Speaker 1: you know, kind of tell me a little bit about
Speaker 1: Common Thread and the met galas so specific and it's
Speaker 1: so beautiful and it's so wonderful, and it's and it's
Speaker 1: privately funded and what you've done is so special. My
Speaker 1: question with to you, what I've always wanted to know,
Speaker 1: is really like, what are you protecting in that space?
Speaker 1: Because it's important to protect it, and I just so
Speaker 1: I just a question. I mean, obviously, the more philanthropic
Speaker 1: endeavors that I can I think that I feel very
Speaker 1: personally connected to. And if we had start with something
Speaker 1: like the initiative or Common Threat that actually was an
Speaker 1: extension of an initiative that Vogue in the Safeta started
Speaker 1: after nine to eleven, which was called the Safety of
Speaker 1: Volde Clashion Fund. It was such an extraordinary time and
Speaker 1: I think all of us were lost and didn't know
Speaker 1: what to do and how one could be helpful. And
Speaker 1: I think it comes back to Edea being focused. I
Speaker 1: saw all the young people in my office really struggling,
Speaker 1: and I saw all the young designers because it happened
Speaker 1: probably the reason people to remember this, but it happened
Speaker 1: during the first day of a New York flashion Clashion Week,
Speaker 1: and so as a result, no one was able to
Speaker 1: show obviously, and many young designers lost their deposits. And
Speaker 1: we over the following weeks, we've got so many calls,
Speaker 1: so much we do, We've lost everything, and what we
Speaker 1: do it was we put together a fashion show for
Speaker 1: all the young designers, and Carolina Herrera was so generous
Speaker 1: she gave us her showroom. We invited some members of
Speaker 1: the press, we invited some TV stations, and we got
Speaker 1: quite a bit of press around it. And out of that,
Speaker 1: I realized how hand to mouth the life of a
Speaker 1: young designer and knew what it was, and we launched
Speaker 1: something called the CFDA, a fashion Fund, and we pinpoint
Speaker 1: ten designers every every year that we're going to help
Speaker 1: them mentor and find the right mentor for long term,
Speaker 1: and also we give them a certain amount of funday.
Speaker 1: So that's been an existence about twenty years now, and
Speaker 1: when COVID hit, If you think about the calls that
Speaker 1: we received, they an average year, there are many, but
Speaker 1: they multiplied. So many people were struggling, didn't know what
Speaker 1: to do and how could we help them. So we
Speaker 1: decided to repurpose the Fashion Fund into a common thread,
Speaker 1: and we went out, we raised some money and the
Speaker 1: very first person that called me was Ralph Lauren and
Speaker 1: he said, I hear you raising money to support young
Speaker 1: American signers and I said, yes, rath ers right. He said,
Speaker 1: I'm going to give you a million bollus just like that,
Speaker 1: and I burst into tears because I was so moved
Speaker 1: and that he called me personally, and there was no
Speaker 1: questions about where was the money going. He just gave
Speaker 1: to us. And so once that came out, we were
Speaker 1: able to raise a great deal more and the CFET
Speaker 1: and VOTE put together a committee and we allocated a
Speaker 1: certain amount of money to I can't remember now, but
Speaker 1: I think it was over a hundred designers that were
Speaker 1: really in need for different from different levels of grants,
Speaker 1: from small grants to large grants. So it was about
Speaker 1: knowing that we could help, that this was an area
Speaker 1: that we had expertise in that we were able to
Speaker 1: not only support them financially, but put them in touch
Speaker 1: with people that could help them. So we've now gone
Speaker 1: back to the Fashion fun and actually we had a
Speaker 1: meeting just yesterday to talk about how that Kononas is
Speaker 1: much more global than we were a few years ago.
Speaker 1: How we could look at the fashion farm from a
Speaker 1: global perspective, having local chapters, but a global perspective. So
Speaker 1: that's one thing that I do that involves all a
Speaker 1: Vogue and all of the CFTA and now hopefully blots
Speaker 1: around the world. And then I obviously always been very
Speaker 1: committed to causes that work with HIV, and during the
Speaker 1: HIV crisis, it was just extraordinary at the time how
Speaker 1: people just didn't want to talk about it and they
Speaker 1: didn't want to support and it was something that obviously
Speaker 1: within our community was very much discussed, but many many
Speaker 1: people didn't. And the leader at the city at that
Speaker 1: time was Carol in Rome and she was incredible, and
Speaker 1: we got together as a group, Donna, Karen and Ralph
Speaker 1: and Mark and Michael and Calvin, and we created something
Speaker 1: called Samton Sale where it was like a big bazaar
Speaker 1: and everybody came and they created a booth and they
Speaker 1: sold fashion that was open to the public and we
Speaker 1: raised millions and millions and it was also raised away.
Speaker 1: So that has segued into now working with Michael on
Speaker 1: God's Love We Deliver and Obviously Michael's done such an
Speaker 1: incredible job broadening that delivers meals to people with all
Speaker 1: kinds of an illness, is not just HIV. And in fact,
Speaker 1: at the dinner, which was just last week, they were
Speaker 1: talking about how they're doing so much work now with
Speaker 1: people that are suffering from mental illness and have subie
Speaker 1: mental health issues and can't leave the house or for
Speaker 1: whatever reasons they need the food. And the food of
Speaker 1: course is so important, but it's even the people that
Speaker 1: just turn out every day, you know, just having human
Speaker 1: connection contacts. But I also work. My ex husband was
Speaker 1: chief of child psychiatry at Columbia and for many years
Speaker 1: his subject was working with young people who had suicidal
Speaker 1: tendencies and were suffering from severe anxiety and depression. And
Speaker 1: about fifteen years ago he and I started to raise
Speaker 1: money to create something called the Youth Anxiety Center, which
Speaker 1: operates between Columbia and Cornell that supports research and treatment
Speaker 1: for young people that suffer from those three illnesses depression, anxiety,
Speaker 1: and in the severest cases from young people that are
Speaker 1: really quite concerned about them committing suicide. And obviously during
Speaker 1: COVID that has become even more prevalent and important, and
Speaker 1: you readers, I'm sure your listeners read about how mental
Speaker 1: health has become such an issue among young people. So
Speaker 1: those are three causes that I care about deeply and
Speaker 1: that I feel through personal experiences I can actually be helpful. Amazing,
Speaker 1: here's a woman that is a person so busy and
Speaker 1: in between your running a business. But it just goes
Speaker 1: back to the idea of focus. And obviously I get
Speaker 1: a huge amount of support and help from people in
Speaker 1: all those different areas. And I really want to emphasize
Speaker 1: how Michael is really the leader of God's Love. I'm there,
Speaker 1: but he's the one that leads that with the Youth
Speaker 1: Anxiety Center and the fashion founders are deeply personal. Welcome
Speaker 1: back to Table for two. Well, we were talking with
Speaker 1: Anna Winter about her great work with Common Thread and Amphar.
Speaker 1: We're going to get back into that, but also the
Speaker 1: MET gala and why it's so much more than just
Speaker 1: a party. And then he asked me about the MET
Speaker 1: I mean and the MET Well that was because of
Speaker 1: Oscar I mean Oscar de Laurento, who was my great
Speaker 1: friend and whose wife and Annette Laurento is also a
Speaker 1: great personal friend. They called me a million years ago
Speaker 1: and said, would you ever consider helping the Customer Institute?
Speaker 1: And you know, I had been aware of the MET
Speaker 1: and the what they did when I was first living
Speaker 1: in New York. I was a junior editor at New
Speaker 1: York Magazine, and I remember going to the MET when
Speaker 1: I was there with someone called Henry Post, who was
Speaker 1: my colleague a magazine who sadly died of AIDS and
Speaker 1: was certainly one of the reasons that I wanted to
Speaker 1: try and help at that time, and just being awed
Speaker 1: by what missus Land had done, and it just seemed
Speaker 1: it was lamorous evening i'd ever been at. And I
Speaker 1: didn't go to the dinner. I couldn't aford to go
Speaker 1: to the dinner. I was just at the cocktails of Henry.
Speaker 1: But we had an amazing time. And so when an
Speaker 1: Oscar called me because after missus Land was no longer
Speaker 1: working with a museum, it's sort of there was no leadership,
Speaker 1: or there wasn't as an involved with leadership us there
Speaker 1: was so much vision, and asked me to see if
Speaker 1: I could help. I mean, I really there was not
Speaker 1: a grand plan. I just did it because if Oscar
Speaker 1: called you always said yes, and I really was very naive.
Speaker 1: I think I didn't realize what I was stepping into,
Speaker 1: and it just became something that I felt more and
Speaker 1: more passionate about over the years, and obviously it came
Speaker 1: more recently. Became so close with Andrew Bolton and so
Speaker 1: love working with him and fill to support his later
Speaker 1: vision and his mind and helped put a spotlight on
Speaker 1: the amazing work he does me and itself. And it
Speaker 1: just grew over the years. But I can't pretend that
Speaker 1: there was a grand plan or a grand strategy. It
Speaker 1: just it grew. I mean, and it has been twenty
Speaker 1: five years. It's like it in the day. It's sort
Speaker 1: of interesting because that's the organic truth of it. Yeah,
Speaker 1: when something has has a life of its own. I
Speaker 1: think what makes it such a spectacular night is it's
Speaker 1: organic it has grown into and it's actually, you know,
Speaker 1: one of the things that I don't think it gets
Speaker 1: enough credit for, at least that I've read, it's it's
Speaker 1: an economic plus for the city. People come in, it's
Speaker 1: all these sort of anslitnesses. Yeah, it's almost become a
Speaker 1: week of celebration. Yes, I think what's really important to
Speaker 1: note is that the cost and is to is its
Speaker 1: own department within the museum, and everything that we raise
Speaker 1: over the year, and particularly of course during that one night,
Speaker 1: that is what supports it. It supports its acquisitions budget,
Speaker 1: it's operating costs, the cost of the exhibition. We are
Speaker 1: self funded, so we receive no funding at all from
Speaker 1: the musing itself. So that is sometimes an important point
Speaker 1: that people don't necessarily realize. And of course raising the
Speaker 1: money is so important, and putting a spotlight on exhibitions,
Speaker 1: and I mean bringing a much broader language of fashion
Speaker 1: to a broader public is incredibly important. But I do
Speaker 1: want to say that it's supporting somebody like Andrew who
Speaker 1: of us of all, he's so much fun, but he's brilliant,
Speaker 1: and to watch how his mind starts to grapple with
Speaker 1: the subject of an exhibition. I mean, I'm sure Brian
Speaker 1: talks to you a lot about this in his role.
Speaker 1: When you see a creative vision start to unfold and
Speaker 1: put together all the different pieces and watch the storytelling
Speaker 1: ham a reality like right now we're working on the
Speaker 1: exhibition for May of twenty three, which is looking at
Speaker 1: the normous body of work that Carlagha felt produced over
Speaker 1: fifty five years. And obviously a lot of people associate
Speaker 1: Carl with Chanelle and with Bendy, but he also worked
Speaker 1: at two when he was in his twenties, who worked
Speaker 1: at Valma, he worked at Chloe, He had his own
Speaker 1: world at carlagha Felt, plus all these different collaborations. So
Speaker 1: it's this ham a body of amazing work, and how
Speaker 1: do you focus that into an exhibition at the visitors
Speaker 1: understand sure? And seeing him find that throughline it was
Speaker 1: really interesting. We just had the press conference in Paris,
Speaker 1: and we had it at Carl's own library and studio,
Speaker 1: which really if you think about Carl, you think about sketching,
Speaker 1: and you think about books, and you think about tactile
Speaker 1: things like paper and pen, and this amazing library is
Speaker 1: like wall to all thousands and thousands of books. And
Speaker 1: Carl when he would he was a great book giver,
Speaker 1: but he would never send you one copy. He would
Speaker 1: send you like ten copies. And I would of the
Speaker 1: same boat, and I would say to cow boy, you
Speaker 1: send ten copies. Don't you have ten libraries? And no,
Speaker 1: like he had ten libraries all over the world, but
Speaker 1: those are not many of us do that, And Andrew
Speaker 1: was talking about how he had really channeled Harl's vision
Speaker 1: and mind. He talked about a line of beauty from Poker,
Speaker 1: and he talked about how he saw all these different
Speaker 1: lines running through Carl's work, whether it was the serpentine
Speaker 1: line or the classical line, and that came to him
Speaker 1: from watching a little video of Carl actually sketching and
Speaker 1: seeing Carl draw these sort of lines again and again,
Speaker 1: and then when you look at it and you see
Speaker 1: that line running through all of his work. So he
Speaker 1: took fifty five years of work and he put it
Speaker 1: into a way that you and I can actually understand
Speaker 1: the genius of one Karl was doing, but how he
Speaker 1: would go back again and again to the same look,
Speaker 1: the same idea. And in a way, that's why Carl
Speaker 1: at Chanel, I think was always so interesting because he
Speaker 1: was contained in a way that he wasn't at some
Speaker 1: of the other places that he worked at, by a
Speaker 1: vocabulary of watch. Chanel stood for wow. So when Andrew's
Speaker 1: when someone identifies that line, do you just when they
Speaker 1: present it, do you feel it viscerally insane? Yeah? Well,
Speaker 1: now now I understand what they're an exhibition can be
Speaker 1: and it's it's like, wow, can these enormous subjects be
Speaker 1: boiled down into it a thought process that everybody can understand?
Speaker 1: And I always say to Andrew when he comes up
Speaker 1: with these ideas, if I don't get it in sixty seconds,
Speaker 1: I'm the public, no one will get it. And sometimes
Speaker 1: you know, that very deep intellectual mind will come up
Speaker 1: with an idea, and I'm always trying to help him
Speaker 1: think about how you can boil it down to an
Speaker 1: idea that the general public will understand and want to go.
Speaker 1: And yeah, it's and you also, you know what you're
Speaker 1: doing is I think you're you know, fashion tells the
Speaker 1: story of life and history. It's a global language and
Speaker 1: that is what is so amazing thing about those exhibitions.
Speaker 1: And right, really the timing point was the McQueen show.
Speaker 1: I mean, that was just this extraordinary moment when he
Speaker 1: died through such tragic circumstances. Andrew, and he was working
Speaker 1: at that time with how codas his co curator, came
Speaker 1: and said we want to do this exhibition. And I
Speaker 1: think there was an interest in McQueen because of his
Speaker 1: life and how he had unfortunately left us. And then
Speaker 1: the exhibition was brilliant, and the visual side of the
Speaker 1: exhibition was brilliant. I mean it just brought together all
Speaker 1: of the designers thought processes and how he looked at
Speaker 1: the costume and how he looked at the world. And
Speaker 1: then of course the Princess of Wales was married and
Speaker 1: a McQueen, and that was the Monday before the exhibition opened.
Speaker 1: So there were all these forces fueling into this tight
Speaker 1: in public interest. But we had no idea that it
Speaker 1: was going to unleash this public interest in this exhibition.
Speaker 1: And then when there were lines outside the museum every
Speaker 1: night and then the last weekend, Andrew and I decided
Speaker 1: we would go and sign catalogs that night because it
Speaker 1: was going to be open till midnight. It was open
Speaker 1: till midnight the last weekend, and it was so moving
Speaker 1: to be there that evening that we were there, because
Speaker 1: people stood in line six seven, eight hours to see
Speaker 1: this show. And I remember there was one lady that
Speaker 1: came up, and you know, I always say where did
Speaker 1: you come from? And the people were coming from Australia
Speaker 1: and Korea and from all over the world, and there
Speaker 1: was one lady that came up and she was from
Speaker 1: the South and she said, I've stood in line three
Speaker 1: times to see this exhibition, and this time I stood
Speaker 1: in line for six hours, and I would do it
Speaker 1: all over again. And she must have been in her
Speaker 1: eight Wow. And then you think this is why you're
Speaker 1: doing it. You know it was. It was emotional and
Speaker 1: moving and there was so many stories that I know.
Speaker 1: We get a lot of attention around the party, but
Speaker 1: we do it because of the black I will say,
Speaker 1: I've had the good fortune of going to the party
Speaker 1: and I seem to always get the dress wrong. I
Speaker 1: think it's because I'm married to Brian Lord, who never
Speaker 1: lets me. I'll tell you after Okay, so I have
Speaker 1: some plan. Welcome back to the table, Level one. I
Speaker 1: hope that you are enjoying our conversation with Anna Winter.
Speaker 1: I know I am. And while I could talk about
Speaker 1: the met galop all afternoon, I've got one question that's
Speaker 1: been pressing. What's going on with men's fashion today? So
Speaker 1: I don't know. After watching the now release David Bowie
Speaker 1: documentary his love of fashion and the expression of his
Speaker 1: music through his clothes. Bowie was androgynous, and we find
Speaker 1: ourselves in a time where men's fashion has shifted with
Speaker 1: the likes of Harry Styles Quirmen combining tuxedos with ball gowns, jewelry.
Speaker 1: What is happening in men's cushion. Well, it's so I mean,
Speaker 1: obviously Bowie was so ahead of his time, and what
Speaker 1: might have been a little bit shocking at that moment
Speaker 1: is the norm now. And I think everything is so interconnected,
Speaker 1: and I think the fashion industry in terms of inclusivity,
Speaker 1: has been really ahead of the game. The way that
Speaker 1: they embrace all genders and are not being combined by
Speaker 1: rules or traditions. It's so exciting, but it's so great,
Speaker 1: and we have designers like Tom Brown that have been
Speaker 1: really head of the curve in that way, or going
Speaker 1: back to me more Bowie's generation, Jean Paul Gautier, and
Speaker 1: I see it in the office, you know, I remember
Speaker 1: many years ago we used to have a young man
Speaker 1: in the office that would wear dresses and high heels,
Speaker 1: and we were fine with it at VOBA. Maybe other
Speaker 1: departments would raise an eyebrow or two. Now Nobe even
Speaker 1: thinks about it. It's just accepted. It's normal. And how
Speaker 1: great is that everyone ought to be able to express
Speaker 1: their own identity, their own personality. And that's one of
Speaker 1: the great pleasures and joys about working in fashion is
Speaker 1: that passion is about self expression and then this is
Speaker 1: who I am, and maybe you're that one day and
Speaker 1: you're something else the next. And I think because fashion
Speaker 1: has such this huge platform now through social media or
Speaker 1: events like the Metcalor or the Oscars or whatever it
Speaker 1: may be. Although the Oscars could maybe be a little
Speaker 1: bit all experimentale, I do think that. I do think
Speaker 1: the passion is a platform where people love to express themselves.
Speaker 1: And how wonderful is that? It is amazing, um when
Speaker 1: you and I find myself and for some reason, I'm
Speaker 1: in the color that I know you don't really love,
Speaker 1: which is all so not true. I love black, which
Speaker 1: is not black all day every day. But I do
Speaker 1: think what's so exciting is um and I dressed every
Speaker 1: day in COVID like Brian would be in his office.
Speaker 1: He would hear like the click any click of my
Speaker 1: shoes and he'd be like, where are you going, And
Speaker 1: I'm like, we't just down to the hand of the kitchen.
Speaker 1: But it was very important for me to sort of
Speaker 1: put together what I wanted to wear, because I actually
Speaker 1: set the tone for my day self respect, So I
Speaker 1: love that I'm too others right, And how do you
Speaker 1: represent yourself exactly super chic in your I don't know,
Speaker 1: in your lat pans or whatever it may to be.
Speaker 1: It doesn't mean that you have to be in a suit, right,
Speaker 1: It's just do you plan your look the night before
Speaker 1: or you that know, when you wake up, that's how
Speaker 1: you're feeling, right. It's more I'm a little bit not
Speaker 1: that organize th but I you know, I like to
Speaker 1: have a few things you were over and over and over.
Speaker 1: And I think, particularly now when we're all so focused
Speaker 1: on climate and sustainability, the idea that passion is disposable
Speaker 1: is not something that anyone should be thinking about. You
Speaker 1: should be thinking about things that can last. And I
Speaker 1: keep talking to a lot of the designers about the
Speaker 1: idea of why do you not have within your store's
Speaker 1: vintage and vintage that is yours and you can talk
Speaker 1: to your customers about why you know you're investing this
Speaker 1: amount amount in a jacket or a bag or whatever
Speaker 1: may be, but it lasts and then it becomes, you know,
Speaker 1: part of your personal wardrobe and things that you might
Speaker 1: give to your children or that you will wear over
Speaker 1: and over. But this idea that you might want to
Speaker 1: let things go, why keep them, invest in them, wear
Speaker 1: them over and over, mix them in with new things.
Speaker 1: So I think recycling, rethinking your wardrobe and going back
Speaker 1: to things that you have a own for many years
Speaker 1: is so important. I agree. I always feel too, with
Speaker 1: the things that I have, there comes a time where
Speaker 1: you don't really wear it, or there might be something
Speaker 1: I absolutely love and I acquire knowing that it's just
Speaker 1: not the moment for it yet, and then all of
Speaker 1: the time it's a time will come exactly, it's time,
Speaker 1: it will come. Well, you know. I also find in
Speaker 1: regard to men's fashion, I find it really interesting and
Speaker 1: you could speak to how fashion works the conflict of
Speaker 1: the conservative moment we're in with people's rights being taken away,
Speaker 1: and yet fashion is men's fashion is you know now
Speaker 1: of the nature of this sort of androgynous way, And
Speaker 1: I think of like when women left the fifties and
Speaker 1: went into the sixties and everything got sure, how does
Speaker 1: fashion play in line with well? I think the time
Speaker 1: what we've been looking at is this idea that what
Speaker 1: you wear, how you look, how you present yourself doesn't
Speaker 1: have to be perfect and fake, you know, like it's
Speaker 1: sort of airbrush out of all recognition that your clothes,
Speaker 1: how you wear, how you present yourself. It's better to
Speaker 1: look authentic and real and slightly imperfect because the world
Speaker 1: that is not perfect. And I feel like a lot
Speaker 1: of the more interesting collections that we just looked at
Speaker 1: in during the month of shows reflected that, like it
Speaker 1: made Maybe some of the close were a little bit
Speaker 1: wrinkled or there were unfinished threads, but there was a
Speaker 1: focus also of quality and craftsmanship, but it was it's
Speaker 1: not a perfect world. And I felt the more interesting
Speaker 1: designers they were optimistic collections that were many of them
Speaker 1: were colorful, but they weren't like perfect. They weren't presenting
Speaker 1: to the world as I'm perfect. It was sort of
Speaker 1: more vulnerable and real and to the heart, if that
Speaker 1: makes sense. It does make sense. I love that. And
Speaker 1: when you see something like that, what does it feel
Speaker 1: like to you when you go, Okay, this is where
Speaker 1: we're going this season. But at this moment in time,
Speaker 1: I think everything right now is not about a season
Speaker 1: or a month. It's like, how do you create cultural
Speaker 1: moments and how can you create content that exists across
Speaker 1: multiable platforms, and you're talking to audiences that read your
Speaker 1: content in many different ways, whether they're looking at what
Speaker 1: we create through social media or through video, or through
Speaker 1: an event, or through print, or through one's philanthropic efforts,
Speaker 1: multiple different ways. So how incredible is that you have
Speaker 1: all these different paths to take and pull together. But
Speaker 1: remember that you need a different way of talking to
Speaker 1: those audiences depending on the platform. So if we're talking
Speaker 1: about Okay, the world's a mess, it's imperfect, fashion is
Speaker 1: reflecting that this is a cultural moment. How do we
Speaker 1: talk to our audiences with our enormous reach globally across
Speaker 1: all of our different platforms to talk about that to
Speaker 1: make them feel connected. And the other thing is you
Speaker 1: have to remember that you need to bring your audiences
Speaker 1: with you. So we just did a show in September
Speaker 1: called Vogue World because I felt very very much that
Speaker 1: we could bring something to the idea of what a
Speaker 1: show could be. A lot of fashion shows that would
Speaker 1: be a little different for an audience that would show
Speaker 1: kind of what was happening. I wanted it to be
Speaker 1: very much reflect what I saw happening in New York
Speaker 1: at that time, and a street culture that I saw
Speaker 1: and that how could we blow this out across video
Speaker 1: and social media and bring our audiences in, bring our
Speaker 1: vote club members in, bringing it through live streaming. So
Speaker 1: we did a show at the beginning of fashion Show
Speaker 1: called Vogue World New York where we took over a
Speaker 1: whole street in the meatpacking district and we had It's like,
Speaker 1: what kind of gave me the idea was when walking
Speaker 1: to Washington Square in the morning or coming back, and
Speaker 1: you know, if you go there in the daylight in
Speaker 1: the summer, it's very different from when you go there
Speaker 1: at night. But I wanted to bring it in. This
Speaker 1: idea a central park at the weekend, where you see
Speaker 1: people on bicycles, you see families, you see everyone doing
Speaker 1: different color of sport. You know, everybody is wearing something different.
Speaker 1: So this idea, there's a credible mix that you see
Speaker 1: in New York. So we had this parade. It was
Speaker 1: like dancers and models and every now and again you
Speaker 1: would see a celebrity. You know, was that me, Sugarishop, Yes,
Speaker 1: it was. You know. It was this amazing cultural mix
Speaker 1: and it was very joyous and it created that cultural
Speaker 1: moment across all of our platforms. But it wasn't a
Speaker 1: traditional idea of content, like it's got to be a
Speaker 1: cover story or it's got to be the met It was.
Speaker 1: It was a different introach, and I think that's how
Speaker 1: we all have to think about our content right now.
Speaker 1: It's like what is meaningful to your world? And how
Speaker 1: can you create a moment that people are going to
Speaker 1: relate to? And I think you see people like tips
Speaker 1: so much just that it felt very real and very authentic.
Speaker 1: It didn't feel too drenched in celebrity, it didn't feel unattainable.
Speaker 1: It felt joyoush and hopeful, and we ended would stop
Speaker 1: into with Serena, you know, she opened the wrong way
Speaker 1: and we ended with a little less so were there
Speaker 1: were those celebrity moments, but it also reflected a moment
Speaker 1: that we knew was happening in New York, whether it
Speaker 1: was cinema or theater or dance. I think, you know,
Speaker 1: authenticity is really the key, the key to it all.
Speaker 1: It's the authenticity that people just are responding to what
Speaker 1: they want to see on their plant basis. Yes, exactly
Speaker 1: so this brings me miss Winter. But what you referenced
Speaker 1: earlier was your love of theater, and I know you
Speaker 1: love theater. You do more for theater New York than
Speaker 1: most realized. You placed theater actors in Vogue way before
Speaker 1: their celebrities, hence marketing them and therefore positioning theater in
Speaker 1: a very important role. There's no other magazine that does that.
Speaker 1: And be your daughter loves theater and works in theater,
Speaker 1: and it's it's a family. It's a family that really
Speaker 1: comes from from my dad, who was a Fleet Street
Speaker 1: editor in London and we grew up going to the
Speaker 1: theater and he launched something called the Evening Standard Theater Awards.
Speaker 1: He was the editor Even Standard for many many years,
Speaker 1: and it just was a way of life in our family,
Speaker 1: and we had playwrights in the house, journalists in the house.
Speaker 1: It was just an extension of culture. And I think
Speaker 1: that the British particularly have a deep, deep love of
Speaker 1: the theater, whether it's what we're taught Shakespeare, that we're
Speaker 1: taught at school, whatever it may be. But it's much
Speaker 1: more accessible, to be honest, in London than that it
Speaker 1: is sadly here in New York. I really have to
Speaker 1: credit my dad and my mother loved the theater as well,
Speaker 1: and remember being taken as a young girl to strap
Speaker 1: it on event to see A Midsummer Night's Dream. And
Speaker 1: my mother told me many years later that I have
Speaker 1: this vision of Tatiana being this lovely, young, wonderful girl,
Speaker 1: and she said, actually was. She was probably pushing sixty.
Speaker 1: But you know, as an eight year old, there was
Speaker 1: just a romance to it that always stays, stays with you,
Speaker 1: and going to see Shakespeare in the Park or Peter Pan,
Speaker 1: I don't know, they just stay with you because there's
Speaker 1: something about being in the room, having the physical contact.
Speaker 1: And I talked to my as, I'm sure you do
Speaker 1: your active friends. I mean they go back to the
Speaker 1: theater again and again because there's something about having that
Speaker 1: audience response that is very different from and I don't film.
Speaker 1: I loved film, but it's a different experience. It is
Speaker 1: a great war that I think describes you in what
Speaker 1: is also sort of all aspects of your life, which
Speaker 1: is romance. Yeah, and that you see the romance in
Speaker 1: New York, you see the romance in the theater, you
Speaker 1: see the romances everything. Now that I'm really looking at you,
Speaker 1: the romance of the life that you create for all
Speaker 1: of us, it's amazing. Well, thanks, it really is you're very,
Speaker 1: very kind of And I've just been incredibly lucky and
Speaker 1: incredibly lucky in my family and the people that have
Speaker 1: helped me and the teams that I have working with
Speaker 1: me in the worlds that I have learnt to know,
Speaker 1: and I do. I really consider myself so fortunate and
Speaker 1: that I had that experiences as a young girl, seeing
Speaker 1: how excited my dad was by journalism and how important
Speaker 1: the truth was to him. And my brother is political
Speaker 1: editor diplomatic editor on The Guardian, my sister in law
Speaker 1: as a political writer, and my nieces and nephew, the
Speaker 1: ones that are old enough work in the theater. My
Speaker 1: daughter works in peered At. My son, of course, is
Speaker 1: an amazing doctor, but he works in mental health. So
Speaker 1: somehow everything remains. That's sort of very unique, I mean
Speaker 1: in your father of being such an influence because you're
Speaker 1: in the family business. Going back to your word romance,
Speaker 1: I mean going to visit him as a as a
Speaker 1: child in Bleach Tree and seeing those old printing presses
Speaker 1: and the guys I'm mostly like White Adam a movie
Speaker 1: with advisers, and you know they had to get hold
Speaker 1: the presses, all that stuff. I grew up with that
Speaker 1: and the man that he worked for calling him at
Speaker 1: four o'clock in the morning because it was breaking news
Speaker 1: and for some reason, the foam was in my bed.
Speaker 1: I would be the one that would go upstairs and
Speaker 1: talent such and such a that's happened. So I mean
Speaker 1: that that stays with you and it's it's so exciting.
Speaker 1: So you bring up politics, and I've had such good
Speaker 1: fortune to have dinner with you, with Brian where we
Speaker 1: get to be real and we just can talk. And
Speaker 1: I'm always struck by your up to the second knowledge
Speaker 1: of political races and candidates and we're not here to
Speaker 1: talk about candidates, but being English, you're you know, Damed,
Speaker 1: it's a big deal. Why are you so committed to
Speaker 1: our democracy? And where does that come from? Well, it
Speaker 1: goes back to growing up with journalism. I'm seeing my
Speaker 1: father and the people that we had frequently in house,
Speaker 1: mostly journalists, being so committed. And the political landscape reflects
Speaker 1: our times, it reflects our culture, and I know I
Speaker 1: was very lucky in that my my family and still
Speaker 1: values in all of us. You know, you can't live
Speaker 1: your life under the shadow, but I do think you
Speaker 1: are shaped by your up ring I'm sure you must
Speaker 1: reveal that and what you're exupposed to and politics is
Speaker 1: just what was discussed at home. And I find what's
Speaker 1: happening right now in many ways so deeply disturbing to
Speaker 1: see how polarizing her politics have become, and how truth
Speaker 1: has not seems to be meaningless and eyes of many,
Speaker 1: and so anything that all of us can do in
Speaker 1: our own small ways to help reshape that conversation, I
Speaker 1: think for the sake of our children, our grandchildren and
Speaker 1: generations to come. As our lunch today with Anna comes
Speaker 1: to a close, I want to thank all of you
Speaker 1: for falling up a chair. I know Anna has to
Speaker 1: get back to work. So there's just one little question
Speaker 1: I have for her. I guess, Anna, as we sort
Speaker 1: of wrap it up, what brings you joy? My children,
Speaker 1: my children, my grandchildren. I mean, there's in the end,
Speaker 1: it's thick, it's family. It's family, obviously, It's I mean,
Speaker 1: I love I love my work. I love the work
Speaker 1: I do with Andrew at the museum. Obviously that's super
Speaker 1: important to me. But you know, in the end, it's
Speaker 1: it's it's you, it's your family. And then, on a
Speaker 1: more simplistic and less complicated. You know, love my gardens.
Speaker 1: You know I love the joy of watching a great
Speaker 1: tennis match, So I love a great performance. I mean,
Speaker 1: I I have so much respect when I see people
Speaker 1: who are completely dedicated to what they do and do
Speaker 1: it extremely well. I mean I I'm asked a lot
Speaker 1: about someone like Roger feder who's been a friend of
Speaker 1: mine for so many years. And watching Roger play on
Speaker 1: the court with so much grace and elegance and style
Speaker 1: and talent, you know, that is to me that that's
Speaker 1: seeing someone who is the best at what they do.
Speaker 1: That that's joy. And if I can help with her
Speaker 1: it standards or politics, or theater, or mental health or
Speaker 1: any of the things that we've been having this wonderful
Speaker 1: discussion about, if I can help in any way put
Speaker 1: any kind of a spotlight on that, then that certainly
Speaker 1: gives me joy. Your description of Roger Federer, who I
Speaker 1: also agree, is a description of yourself. You are elegant,
Speaker 1: You are filled with grace, You are incredibly wise and generous,
Speaker 1: and I can't thank you enough for pulling up a
Speaker 1: cheer today and having lunch with me. It means everything.
Speaker 1: Thank you, Bruce. You've been so kind and generous to
Speaker 1: me and I so appreciate it. Table for Two with
Speaker 1: Bruce Bozzi is produced by iHeartRadio seven three seven Park
Speaker 1: and Airmail. Our executive producers are Bruce Bozzi, Jonathan Hollis
Speaker 1: Dressler and Nathan King. Table for Two is edited and
Speaker 1: written by Tina Mullen and researched and written by Bridget
Speaker 1: arsenalt Our sound engineers are Emil B. Klein, Paul Bowman
Speaker 1: and Melissa Midcalf. Table for two is LA production team
Speaker 1: is Danielle Romo and Lorraine viz. Our music supervisor is
Speaker 1: Randall Poster. Our talent booking is by Jane Sark. Special
Speaker 1: thanks to Amy Sugarman, Uni Cher, Kevin Yuvane, Bobby Bauer,
Speaker 1: Alison Cantor Graber, and Jody Williams, Rita Sodi and the
Speaker 1: team at Via Coroda in Manhattan's West Village. For more
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcast, or
Speaker 1: wherever you listen to your favorite shows.