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Anna Wintour

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In a sea of women's glossies that purport to be about fashion but publish earnest articles chronicling the author's quest for self-actualization, Vogue stands apart. The voluminous fashion pages are arty, original, and sophisticated, shot by talented photographers like Annie Leibovitz, Irving Penn, and Steven Meisel. Most of us read Vogue not with the intention of buying the wildly expensive clothes, but because doing so educates our eye and hones our taste, similar to the way eating gourmet food refines the palate. This is a pleasure enabled by Wintour's ruthless aesthetic, her refusal to participate in the democratizing tendency of most of her competitors. To deny her that privilege is to deny her readers the privilege of fantasy in the form of beautifully photographed Paris couture
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Amanda Fortini, "Defending Vogue's Evil Genius", Slate; February 10, 2005.

 
Anna Wintour

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In its kind this speedy oblivion by which a once famous man so long survived his fame is almost unique, and it is not easily explicable. Of course, there are writings that attain a great vogue and then fall entirely out of regard or notice. But this is almost always because either the interest of the subject matter is temporary, and the writings are in the nature of journalism, or else the workmanship to which they owe their temporary success is itself the produce or the product of a passing fashion. This was not the case with Herman Melville. Whoever, arrested for a moment by the tidings of the author's death, turns back now to the books that were so much read and so much talked about forty years ago has no difficulty in determining why they were then read and talked about. His difficulty will be rather to discover why they are read and talked about no longer. The total eclipse now of what was then a literary luminary seems like a wanton caprice of fame. At all events, it conveys a moral that is both bitter and wholesome to the popular novelists of our own day.

 
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Are riches, honors, and beauty going out of fashion? Is not the rage for them, on the contrary, increased faster than improvement in knowledge? As long as either of these are in vogue, will there not be emulations and rivalries? Does not the increase of knowledge in any man increase his emulation; and the diffusion of knowledge among men multiply rivalries? Has the progress of science, arts, and letters yet discovered that there are no passions in human nature? no ambition, avarice, or desire of fame? Are these passions cooled, diminished, or extinguished? Is the rage for admiration less ardent in men or women? Have these propensities less a tendency to divisions, controversies, seditions, mutinies, and civil wars than formerly? On the contrary, the more knowledge is diffused, the more the passions are extended, and the more furious they grow.

 
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