“It’s dreadful,” Anna Wintour said in early October, looking out the south-facing windows of her 25th-floor office in One World Trade Center, which has been home to Vogue and its publisher, Condé Nast, since 2014.
It’s the neighborhood she hates—corporate, sterile, and encumbered by security. She preferred the previous headquarters, in Times Square, which offered the ability to pop out for afternoon matinees on Broadway and, more important, the feeling that Condé Nast was at the center of it all. But the landlord had given the world’s glitziest publishing company a deal to move downtown, and Condé built out 23 sleek, futuristic floors as though magazines were thriving. This proved overly optimistic. Three years later, in 2017, Condé lost more than $120 million; Graydon Carter, who relished his life among the moguls and stars, a player among players, announced his departure after 25 years running Vanity Fair; and Si Newhouse, the company’s Medici-like benefactor, died at 89.
Members of the old guard couldn’t help but look around the room during Si’s memorial, at Jazz at Lincoln Center, and see that it was also a funeral for the glory days of the company. As David Remnick, the editor of The New Yorker, put it to a fellow media executive in 2017, Condé was facing the same daunting challenges as the rest of the media business and seemed to be in “a dignified state of panic” as it belatedly adapted to low-margin, constantly pivoting digital realities, closed and sold titles, and underwent a “restacking”—the chosen euphemism for squeezing everyone onto fewer floors so Condé could sublet some of the fancy real estate it now realized it could no longer afford.
This story is from the October 28–November 10, 2019 edition of New York magazine.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the October 28–November 10, 2019 edition of New York magazine.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
Trapped in Time
A woman relives the same day in a stunning Danish novel.
Polyphonic City
A SOFT, SHIMMERING beauty permeates the images of Mumbai that open Payal Kapadia's All We Imagine As Light. For all the nighttime bustle on display-the heave of people, the constant activity and chaos-Kapadia shoots with a flair for the illusory.
Lear at the Fountain of Youth
Kenneth Branagh's production is nipped, tucked, and facile.
A Belfast Lad Goes Home
After playing some iconic Americans, Anthony Boyle is a beloved IRA commander in a riveting new series about the Troubles.
The Pluck of the Irish
Artists from the Indiana-size island continue to dominate popular culture. Online, they've gained a rep as the \"good Europeans.\"
Houston's on Houston
The Corner Store is like an upscale chain for downtown scene-chasers.
A Brownstone That's Pink Inside
Artist Vivian Reiss's Murray Hill house of whimsy.
These Jeans Made Me Gay
The Citizens of Humanity Horseshoe pants complete my queer style.
Manic, STONED, Throttle, No Brakes
Less than six months after her Gagosian sölu show, the artist JAMIAN JULIANO-VILLAND lost her gallery and all her money and was preparing for an exhibition with two the biggest living American artists.
WHO EVER THOUGHT THAT BRIGHT PINK MEAT THAT LASTS FOR WEEKS WAS A GOOD IDEA?
Deli Meat Is Rotten