After what the Guardian called a “rather stylish” departure in January from the role of editor at British Vogue for just over 25 years, this article provides a closer look at the inspiring force that is Alexandra Shulman.
“An OBE recognises you can do the job.”
A woman who makes up 25% of all British Vogue editors, Shulman is inspirational, intuitive and undoubtedly driven. After becoming editor-in-chief back in 1992, Shulman has since become the longest-standing editor at the publication, receiving an OBE in 2009. It is a testament to her inner determination that she has survived so long in the role: an achievement that has led to her becoming one of the most respected members of the fashion industry.
“Some might not think it’s justified,” Shulman states after being honoured by the Queen, “but an OBE recognises you can do the job.”
Shulman was one of three children growing up in Belgravia under the influence of her mother Drusilla Beyfu, a Vogue associate editor in the 70s, and her father Milton Shulman, a Vogue film critic. Shulman contests that despite having journalistic parents this was not the path she intended to join. After attending St. Paul’s school in London, she started reading anthropology at the University of Sussex. Despite her initial intentions, after a couple of small jobs at recording labels, Shulman began her career in journalism as a writer for
Despite her initial intentions, after a couple of small jobs at recording labels, Shulman began her career in journalism as a writer for Tatler in 1982. It did not take long for her journalistic talent to flourish, soon writing for The Sunday Telegraph, GQ and Vogue. Her first editorial job came at GQ magazine, where she increased sales by 30% in just two years.
“Must be so brutal for people who rely on how they look to define themselves.”
However, Shulman’s journey in the journalism industry was inevitably not without difficulties. When she was appointed editor-in-chief of Vogue, she was welcomed by a series of criticisms stating she did not “look the part,” or did not “fit the role” of a fashion editor. Nevertheless, these criticisms have been boldly proved wrong through her reign of success at the magazine. “It must be so brutal for people who rely on how they look to define themselves,” Shulman says, “and then they age.”
An Independent reporter, Hermione Eyre, also comments on the notable difference between the high fashion, style icon muses of Vogue’s international editor counterparts, in comparison to Shulman. But, Eyre believes that Shulman’s background, which is rooted in journalism rather than fashion, has given her a significant edge over the other editors.
“I loved the fact that you could go to the office, do your job and then race home.”
Shulman has also been criticised in the past for returning to work at Vogue when her son Sam was just 15 weeks old. Living in Queens Park, London, she had to hire a full-time nanny for her newborn baby. However, many people would argue that Shulman’s commitment to her job and the magazine was not a cause for outrage, and not detrimental to her child. “I felt confident that he was perfectly happy,” she says. “I loved the fact that you could go to the office, do your job and then race home.”
Last year a fascinating documentary aired on BBC Two called Absolutely Fashion: Inside British Vogue. Not only did this documentary venture further than any man has gone before, it also gave viewers an insightful view of the editor-at-large, a woman who has avoided any intrusion of the media in the past. The documentary has been criticised for trying to make a British version of The Devils Wears Prada by presenting Shulman as an icy and aloof editor who is feared by her younger, female employees. Arguably, Shulman’s ability to negotiate a secret cover star (Kate Middleton) during the director’s media presence, does not present her as the icy and aloof Miranda-Priestly style editor but reflects her dedication and loyalty to the magazine. This is an aspirational trait for young girls, as Shulman has chosen to prioritise the fate of her issue over how she would personally appear in the documentary.
Arguably, Shulman’s ability to negotiate a secret cover star (Kate Middleton) during the director’s media presence, does not present her as the icy and aloof Miranda-Priestly style editor but reflects her dedication and loyalty to the magazine. This is an aspirational trait for young girls, as Shulman has chosen to prioritise the fate of her issue over how she would personally appear in the documentary.
“Teach me how to multi-task please Alexandra!”
Shulman published a book in October 2016, Inside Vogue: A Diary Of My 100th Year, which chronicles her year leading up to Vogue’s centenary celebrations, including everything from the BBC documentary, the National Portrait Gallery exhibition and the star-studded gala dinner; it is available to buy now. How Shulman has expertly found the time to write this book whilst tackling everyday occurrences at Vogue is definitely a question I would like answered, teach me how to multi-task please Alexandra!
How Shulman has expertly found the time to write this book whilst tackling everyday occurrences at Vogue is definitely a question I would like answered, teach me how to multi-task please Alexandra!
Daisy Guy
Image Credit: Karim D. Ghantous via Flickr – License.
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Great article!