Magazine group points to restructuring bill but says it ‘remains profitable in the UK for another year’

Profits at Condé Nast’s UK arm slumped by more than a third last year, according to figures published shortly after the billionaire family that owns the luxury magazine group and titles from Vogue to GQ ruled out a sale.

The publisher, which enjoyed a bumper 2024 after booking £64m in proceeds from the sale of its UK headquarters Vogue House in London, saw pre-tax profits excluding exceptional items tumble 36% from £28m that year to nearly £18m last year.

The former British Vogue editor-in-chief and author on a romantic kiss on a traffic island, her school-run regrets, and a very expensive nude

Born in London, Alexandra Shulman, 68, studied social anthropology at the University of Sussex. She was a secretary at Over 21 magazine and, in the early 80s, became a journalist at Tatler. In 1990, she was made editor of British GQ and, from 1992 to 2017, she was editor‑in‑chief of British Vogue. For her contribution to fashion journalism, she was awarded both an OBE and a CBE. Her books include novels and the bestselling memoir, Clothes … and Other Things That Matter. A collection of essays, Black Coffee and Red Lipstick: Notes on Living, is out now. She is married for the second time, has a son and lives in London.

When were you happiest?
Anytime that I’m lying in the sun next to a swimming pool with a good book.

Critics say partnership between Mounjaro maker Eli Lilly and fashion giant suggests thinness is an aspiration

The fifth iteration of Vogue World, overseen by Anna Wintour, took place in Milan on Tuesday night. Gigi Hadid and Jennifer Lopez provided theatrics on the catwalk, but it was one of the event’s backers that caused the biggest stir.

Eli Lilly, an American pharmaceutical company that manufactures a wide range of medicines, including weight-loss jabs Mounjaro and the Foundayo pill, was listed in the event credits as one of its “fashion adjacent” sponsors.

Cute, egoless canines offer a break from a world that feels dominated by ‘nepo babies’ and ‘Maga lady aesthetic’

What do Nicole Kidman, a pair of “nepo babies” and a beagle called Sansa Martínez Berlingeri have in common? They all appear on the covers of the all-important September issues of Vogue and Dogue. But the winner of the unofficial battle of the covers? The one with the keenest sense of smell and a penchant for playing with socks.

The September covers of British Vogue and Vogue US have come under intense scrutiny after their recent release, while their canine counterpoint, Dogue, has been almost unanimously celebrated.

With a new film about the model out this week, it’s the perfect excuse for some Mosstalgia

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There are models, there are supermodels and then there is Kate Moss. Scouted aged 14 while waiting for a flight at New York’s JFK airport, the Londoner quickly went on to define the fashion aesthetic of the 90s. There have been countless magazine covers including 43 issues of British Vogue, scads of advertising campaigns spanning Calvin Klein to Chanel and Tom Ford and hundreds of catwalk moments including, most recently, a thong-baring appearance at Demna’s Gucci debut.

She’s been sung about by Pete Doherty and Playboi Carti, sculpted by Marc Quinn and painted by Chuck Close, Banksy and Lucian Freud. The latter is now the subject of a new film, Moss & Freud. Directed by James Lucas and executive produced by Moss, it explores the model’s friendship with the then – 80-year-old painter during 2002 when she sat, pregnant, for him. That lifesize naked portrait later sold for £3.5m. Ahead of the film’s release on Friday, our writers reflect on their Mossy memories from the nineties to now.

The decline of the glossy magazine industry as depicted in the sequel made me cry – but I shed no tears for how it was back then

I didn’t think The Devil Wears Prada 2 would make me cry, but it did. All the fashiony high camp, all the sharp one-liners of the first movie (“By all means, move at a glacial pace, you know how that thrills me”) deliquesce into melancholy for a struggling media industry in the second film. We meet the older Andy Sachs (Anne Hathaway) – the put-upon assistant of Runway editor Miranda Priestly (Meryl Streep) in the original movie – when she and her newspaper colleagues are receiving an award for investigative reporting. Except that at precisely that moment they are laid off, by text message. Perfectly realistic: swathes of the Washington Post, including Pulitzer finalists and correspondents in war zones, suffered a similar fate (in this case, sacking by email subject field) in February.

I didn’t think it would make me feel so nostalgic, either. The original Devil Wears Prada came out in 2006. Watching this thinly disguised portrait of American Vogue then was fun. I had served my apprenticeship at Condé Nast, at British Vogue and The World of Interiors, and I felt some vague kinship with Andy and her terrible blue jumper, who arrives a sceptic, goes native, then leaves for her true calling at a progressive newspaper. But now, 20 years on, other feelings crowd in. As my former Vogue colleague Louise Chunn wrote in the New Statesman recently, in the 1990s we had no idea we were working “at the high watermark of the circulation and power of the glossy magazine industry”. When those enormous, thick-papered tomes thunked down on our desks at Vogue House (which they literally did, hand delivered) they were so solid, so reassuring, so full of the promise of glamour and gorgeousness, that we thought it would go on for ever.

Billionaire’s role as honorary chair and main source of funding has led to boycotts and criticism event has lost its cachet

The Met Gala in New York is the grandest and ritziest event in the fashion calendar, and an indicator of the growing ties between designers, celebrity and power. But with tech billionaires now joining the cohort, this year’s party may be its most controversial yet.

All eyes are on the guest list – and their outfits – to launch the fashion exhibition Costume Art at the Metropolitan Museum of Art’s Costume Institute. Beyoncé, Venus Williams and Nicole Kidman are chairing the event with Vogue’s Anna Wintour, and tickets cost about $100,000 (£73,500). But in a plot twist worthy of the new Devil Wears Prada film, Jeff Bezos and Lauren Sánchez Bezos, the Met Gala’s new honorary chairs, will be joining the 450 guests on the museum steps on Monday.

In this week’s newsletter: Fans expecting the Vogue matriarch to pop up in Miranda Priestly’s latest outing have been disappointed – but as Hollywood history shows, guest appearances don’t always go to plan …

The Devil Wears Prada 2 has a cameo list more stuffed than the fashion cupboard at the film’s fictional Runway magazine. It runs the gamut from eye-poppingly famous (Lady Gaga, Donatella Versace, Naomi Campbell) to if-you-know-you-know industry famous (Tina Brown, say, or a host of supermodels familiar to anyone on the Paris front row) to “huh, how did they get there?” (Late Show bandleader Jon Batiste, or Chicken Shop Date’s Amelia Dimoldenberg, already on her second cameo of the year after a super-quick turn in an episode of Industry). Missing, though, is the one cameo everyone hoped for, the white – or should that be cerulean? – whale herself: Anna Wintour, Vogue top dog and heavy inspiration in the film for Meryl Streep’s formidable sadist-in-chief, Miranda Priestly.

Wintour, though absent from the original Devil Wears Prada, always hovered over proceedings – it’s said that a number of designers steered clear of cameo appearances in the first film for fear of offending her – and Wintour herself, though present at its premiere, always studiously avoided discussing the film. But in recent months there seems to have been a sudden thawing – fond words from Wintour about the film on the New Yorker podcast, then a shock appearance alongside Streep on a Vogue cover – prompting speculation that the be-fringed one might deign to appear in the sequel.

Fashion’s Oscars - aka the Met Gala - arrives this Monday. But before we see this year’s outfits, our writers revisit the looks that still spark debate, delight and the occasional meme

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The first Monday in May is fast approaching, which means the next iteration of the Met Gala – the biggest night in fashion – is on its way.

While we eagerly wait to see what co-chairs including Beyoncé (her first Met in a decade) wear, how Anna Wintour handles honorary chairs Jeff Bezos and Lauren Sánchez on the steps (the couple have provided most of the funding for the gala and its exhibition), and how much impact the anti-Bezos protesters have, we thought it would be fun to hit pause on predictions and instead indulge in some Met Gala nostalgia.

Her rare cover appearance with Meryl Streep may be to promote The Devil Wears Prada sequel, but it also marks a shift from elusive editor to carefully curated personal brand

In the world of magazines, when someone announces they’re leaving a job, their colleagues will traditionally present them with their own personalised mock-up of the magazine’s front cover. Perhaps their face is superimposed on the body of a previous celebrity cover star. There are probably some witty cover lines referencing memorable office moments or their favourite snacks. It’s a rite of passage – and this week, Anna Wintour was bestowed with her very own cover. But instead of a jokey imitation bidding her adieu, it was the real, glossy deal, coming to a newsstand near you on 28 April.

In a somewhat surprising effort to promote the forthcoming The Devil Wears Prada 2, Vogue’s May issue sees Wintour share the cover with Meryl Streep, whose steely Miranda Priestly, editor-in-chief of the fictional title Runway, is said to have been inspired by Wintour. “Seeing Double. When Miranda met Anna” reads the cover line. While Wintour has fronted various industry titles, including Interview in 1993 and Ad Week in 2017, it’s the first time an editor has placed themselves as the subject. In another fun twist, both Wintour and Streep are wearing Prada.

Vogue’s global editorial director says Streep’s character in The Devil Wears Prada ‘distant’ from the real her

After more than 30 years helming Vogue, and becoming a pop icon in the process, Anna Wintour has graced the cover of the fashion magazine alongside her Hollywood doppelganger, Meryl Streep.

The global editorial director of Vogue is photographed by Annie Leibovitz alongside Streep, who plays Miranda Priestly in The Devil Wears Prada, a brash, ruthless editor of a fashion magazine thought to be based on Wintour.

Die kleine Hundezeitschrift „Dogue“, Auflage wenige Hundert Exemplare, ist eine Parodie auf das weltbekannte Modemagazin „Vogue“. Nun fletscht der Gigant die Zähne und zieht gegen den Underdog vor Gericht.

India’s female bodybuilders, unnatural Italian models, Asian cyborgs and erased Afghan women … here are the highlights of the many-stranded PhotoVogue festival, in Milan for fashion week

The former British Vogue editor reflects on his early years in London, the importance of celebrating diversity and why he takes comfort in the younger generation

When Edward Enninful was scouted on the tube travelling through London in 1988, it changed his life. The Ghanaian teenager, newly arrived in Britain, was drawn into the capital’s creative scene of the 90s – as a model, then stylist and, by 18, the fashion director of i-D magazine.

“It was the height of the YBA [Young British Artists] movement – Jay Jopling, Tracey Emin. I met Kate [Moss] at a casting,” he recalls. “Then Naomi [Campbell] for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness.”

The folding of the progressive youth-focused magazine into Vogue comes at turbulent time for journalism and the crumbling of feminist media

In late 2016, just a few weeks after Donald Trump won his first presidential election, Teen Vogue published a story that set the internet ablaze: “Donald Trump Is Gaslighting America.”

The story garnered more than 1.3m hits, making it the magazine’s most-read story of the year. Elaine Welteroth, then the editor-in-chief, told NPR that the day it published, Teen Vogue sold “in that month, more copies of the magazine than we had that entire year”. It was a transformative moment for the publication: proof that a magazine long associated with Disney child stars and headlines like “Prom Fever!” could shine light on the political dimensions of young people’s lives.

A look at the editor-in-chief’s Vogue covers from her first radical combination in 1988 to her final ‘weird’ shoot

During her 37-year tenure as editor-in-chief of American Vogue, Anna Wintour has presided over more than 400 covers. December 2025’s, on newsstands this week, will prove her last before she steps away to focus on roles as Vogue’s global editorial director and chief content officer at Condé Nast.

The cover is certainly memorable: an image of the actor Timothée Chalamet photographed by Wintour’s long-term collaborator Annie Leibovitz in a Celine white polo neck, long cream coat and embroidered jeans, standing on a “planet” with a backdrop of a star-filled nebula provided by Nasa.