Vogue China Editor-in-Chief Margaret Zhang Departs End of March 2024
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This Is Sotheby's? The Stories Kristina O'Neill Can Tell As Head of Sotheby's Media
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Kristina O’Neill, former EIC of WSJ Magazine is now installed at Sotheby’s as Head of Sotheby’s Media and editor-in-chief of a revamped Sotheby’s Magazine.
What an exciting creative road lies ahead of her. AOC raises this topic because O’Neill seems perfectly primed to tap into the creative and business evolution going on at the world’s largest auction house. Visually, it’s one that expands the customer base and also acquires “heart” along the way.
O’Neill can catch the modernized Sotheby’s football and run with it. Her decade of work at WSJ Magazine reveals her status as a change agent. Only someone like AOC who can easily call up a decade of her work for review is aware that O’Neill was featuring Black talent long before the summer of 2020.
British-Ghanaian photographer Campbell Addy comes to mind. Outside of a small feature in British Vogue in 2018, Addy shot for WSJ Magazine before any of the other major magazines.
Read MoreWill Sotheby's Magazine Cover LeNell Santa Ana Camacho's Whisky Journey Red Hook to Birmingham?
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When former editor in chief of WSJ Magazine Kristina O’Neill departed her position in April 2023, the luxury fashion and style world knew she was going somewhere important.
Kristina O’Neill has been named editor in chief of the new Sotheby’s Magazine, starting Jan. 8. She will report directly to Gareth Jones, Sotheby’s chief marketing officer.
In perhaps the best story of all, Sotheby’s recent American whisky auction set new records with two big blockbusters. LeNell’s Red Hook Rye 23 Year and Rathskeller Rye, each sold far beyond their highest initial estimate ranges. The LRHR 23 year scoring $56,250 (est range $20,000 – $30,000) and RR grabbing $37,500 ($18,000 – $24,000).
Read MoreKristen Welker Helms NBC's 'Meet the Press', Replacing Chuck Todd
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NBC News has announced Kristen Welker's appointment as the new anchor of “Meet the Press” the network’s flagship newsmagazine program. Welker currently serves as NBC’s White House correspondent and “Weekend Today” co-anchor.
One of Welker’s standout moments happened in 2020 when she moderated the second and final presidential debate between Donald Trump and Joe Biden. The no-nonsense but fair interviewer drew extensive positive reviews from both sides for keeping the proceedings moving and under control.
In truth, no one in media has done a better job than Kristen Welker, insisting that Donald Trump address specific questions — rather than letting him wrestle the narrative away from the moderator.
Last season alone, Meet the Press only averaged 2.57 million total viewers and 492,000 in its advertiser-prized 25-54 demographic; Todd’s ratings were significantly below competitors like CBS' Face the Nation and ABC' This Week in total viewers and in second place in the 25-54 demographic.
Read MoreGraydon Carter's Air Mail News Wows with Tom Ford Interview by Briget Foley
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AOC just read Air Mail, the subscription-based digital magazine company launched by former Vanity Fair editor Graydon Carter.
Reading the first article, Briget Foley’s new interview of Tom Ford stopped us cold.
In a media landscape where talk and promises are so cheap that we are in a state of mental rebellion before reading the first word, the Tom Ford interview is stellar, capturing our minds like a really good TED Talk.
No BS promises and definitely not clickbait. It’s personal and humanizing, filled with haunting quotes from Ford.
Read MoreNYC Sues L'Officiel USA for Not Paying Freelancers On Time or Ever
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Note from Anne: As a result of this NYC lawsuit and learning about L’Officiel USA’s pattern of not paying freelancers, AOC will no longer promote any fashion stories or lifestyle posts associated with L’Officiel USA magazines until there is a resolution to this lawsuit. We will research this alleged pattern and practice in other L’Officiel magazines worldwide and not post any further materials associated with L’Officiel magazines until we understand both the scope and the organizational, corporate structure that governs L’Officiel media.
AOC shares a summary of key points in a press release from the Office of the Mayor of New York City, which filed suit against L’Officiel USA on December 1, 2021.
NYC Sues L'Officiel USA for Not Paying Freelancers On Time or Ever AOC Fashion for entire discussion
The Freelance Isn't Free Act is a local New York City law passed by the New York City Council in 2016 that protects the labor rights of freelance workers. The bill was enacted on May 15, 2017 and is now the basis for a new lawsuit filed by New York City ’s Law Department and the Department of Consumer and Worker Protection (DCWP) against L’Officiel USA, the American subsidiary of the French-owned global media company.
The lawsuit was announced by outgoing New York City mayor Bill de Blasio on December 1, after its filing in New York County Supreme Court.
NYC ’s Freelance Isn ’t Free Act, the first law of its kind in the country, gives freelance workers the legal right to written contracts, timely payment, and freedom from retaliation. The Law also established a Court Navigation Program as one avenue to assist freelancers in getting paid and accessing other resources, but it also authorizes New York City to file cases against businesses with a systemic pattern and practice of violating the Law.
In this first court case derived from NYC ’s Freelance Isn ’t Free Act. The lawsuit, which was filed in New York County Supreme Court, alleges that L ’Officiel has “engaged in a pattern of failing to pay freelancers on time or at all, including writers, editors, photographers, videographers, graphic designers and illustrators.”
Michaela Coel Launches Hugo Blick Netflix Drama 'Black Earth Rising' On Rwandan Genocide
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Michaela Coel wears Asai top and pants, and Georgiana Scott earrings. Photographed by Laura Coulson, Vogue, February 2019. Styling by Charlotte Roberts.
The February 2019 issue of Vogue US touches base with writer and actor Michaela Coel in a small cafe near her London apartment. AOC first met up with the Bafta-winning actor Coel in the February issue of British Vogue. Her essay ‘Flight Or Fight: Michaela Coel On Why We Need To Talk About Race’ was calming, as she dug deeper into the topic of ‘white privilege’ and racial stereotypes than the usual talking heads. I can learn from Michaela Coel.
"We are not campaigning for you to hand over your money, job, Upper Class flights and land... rather it’s the freeing of your minds from history we want"
Coel, now 31, rose to fame in Britain in the “semiautobiographical and widkedly funny TV series ‘Chewing Gum’. After dropping out of university twice, Coel ended up in drama school. So totally disenchanted with the roles offered to her, she wrote her own one-woman theatrical show, one that eventually became ‘Chewing Gum’.
‘Black Earth Rising’
Her latest TV project ‘Black Earth Rising’ is an eight-part drama by Hugo Blick, in which Coel plays Kate Ashby, a survivor of the Rwandan genocide. The series will debut on Netflix January 25.
Kate is raised as the adopted daughter of Eve (Harriet Walter), a British barrister, who joins forces with her colleague Michael (John Goodman) take on the prosecution of an African warlord who played a role in ending the genocide.
In the series, Kate has to reevaluate her ideas of right and wrong, which is perhaps why she wrote such an insightful essay on race a year ago. “This role changed me as a person,” she says.
Her next project is a twelve-part drama looking at sexual consent in the #MeToo era. Cole is the sole writer for the series, one that is inspired by her own experience of a 2016 sexual assault by strangers. “It was horrific,” Coel says about the attack. “I needed two and a half years away from the event to write about it.” Coel engages—on Instagram—with her fans, many of whom have shared with her their own experience of harassment. “I really wish to give this as a gift to them,” she says. Read on at Vogue US.
Actor Michael Coel photographed by Laura Coulson, Vogue, February 2019 Styling by Charlotte Roberts.
