Anna Wintour

If you don't want to play that way, don't play that way.

Jordan could have easily been talking about Anna.

At New York Magazine, Anna wasn't just editing fashion.

She was playing at the highest standard.

And if you wanted to be a part of it, you needed to bring your A-game every day.

No exceptions.

Polly Mellon at Vogue had been watching Anna since London.

She thought Vogue was getting boring and arranged a meeting with editor-in-chief Grace Mirabella.

Mirabella called Anna and asked what position she wanted at Vogue.

Anna's answer?

Yours.

The meeting ended immediately.

Most people hide their ambitions and Anna just announced hers and let the world adjust.

But the real power wasn't Mirabella.

It was Alexander Lieberman, Condé Nast's editorial director.

Art director by day, wielding massive steel sculptures on weekends, he collected talent like others collected art.

In August of 1983, Anna publishes a story where 12 artists create paintings inspired by fashion.

Lieberman sees it and recognizes a kindred spirit, someone who understood fashion as high art, not just commerce.

He invites Anna to his Connecticut estate.

She shows up in what he called a wonderful, simple gray tunic, not trying to impress, just being precisely herself.