The magazine, now a slim, advertising-lite shadow of its former self, has just appointed a new global editorial director, Mark Guiducci. He had barely got beyond floating a prospective interview with Trump’s wife before staff mutinied.
The glossy hasn’t been part of the national conversation since Radhika Jones took over from the far more mischievous and creative Graydon Carter (a worthy successor to the incomparable Tina Brown) in 2017, and drove its circulation into the ground. Jones left last spring.
But the ice-queen Anna Wintour, an ardent Democrat who still rules over parent company Condé Nast as chief content officer and Vogue‘s global editorial director – but was eased out as Vogue editor-in-chief in June – reportedly wouldn’t hear of it.
Were I editing Vanity Fair, though, I would still go for it. The sphinx-like Melania fascinates and perplexes a lot of American women who admire her glamour, resilience, and most of all, the way she keeps her distance from her husband. The days tick by with barely anybody seeing her at the White House. What a scoop it would be to get her to comment on this.
She could also be challenged about gun control, having called this week for “pre-emptive intervention” in identifying potential shooters after a 23-year-old gunman killed two children and injured 18 at a Catholic school in Minneapolis. After all, in July last year Trump himself was the victim of an assassination attempt by a disturbed 20-year-old, which nearly left her a widow.
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It’s also laughable because Conde Nast, the parent company of Vanity Fair and Vogue, played a vital role in creating the legend of Donald Trump and, subsequently, that of his third wife.
The former schoolboys remained friends and Newhouse personally commissioned Trump’s 1987 bestseller, The Art of the Deal, at Random House, which he had just acquired for the Conde Nast stable. The disdainful Wintour also flattered and encouraged Melania at Vogue. In her memoir, Melania writes that “Anna” invited her to fly to Paris to assist her in buying a wedding dress, accompanied by the legendary fashion editor, Andre Leon Talley.
Not only did Vogue cover Melania’s wedding in 2005, but she was also photographed by Annie Leibovitz descending from a private aircraft practically starkers and heavily pregnant with Barron (something of an homage to Vanity Fair’s famous cover with the actor Demi Moore).
This has left Vanity Fair and much of the liberal media floundering, as they try to find the elusive sweet spot that satisfies their old school elitism, the demands of activist staff and the interests of new readers. Certainly, they are not the arbiters of taste or the starmakers they once were.
Where she once would have jumped at the chance to appear in their pages, she doesn’t need them anymore. To paraphrase Gloria Swanson in Sunset Boulevard, she probably thinks: “I am big. It’s the magazines that got small.”
Sarah Baxter is director of the Marie Colvin Center for International Reporting
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