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How the publisher of Vogue, Vanity Fair and the New Yorker redefined high culture

Samuel Irving “Si” Newhouse Jr became chair of Condé Nast, the magazine group owned by his father’s media company, Advance Publications, in 1975. Under his stewardship, Condé’s roster of glossy publications – titles such as Vogue, GQ and Glamour – broadened to include Architectural Digest, a revived Vanity Fair and the New Yorker. Newhouse spent big in pursuit of clout, and his company’s extravagant approach to expenses became the stuff of legend. Condé positioned itself as a gatekeeper of high-end living but, as Michael Grynbaum explains in Empire of the Elite, its success in the 80s and 90s was down to its willingness to embrace “low” culture.

Condé brought pop stars, television personalities and tabloid intrigue into the highbrow fold, reconstituting cultural capital to fit the sensibilities of an emerging yuppie class with little interest in ballet or opera. Several moments stand out, in retrospect: GQ’s 1984 profile of Donald Trump, which paved the way for The Art of the Deal; Madonna’s 1989 debut on the cover of Vogue; and the New Yorker’s coverage of the OJ Simpson trial in 1994. Tina Brown, appointed editor of the New Yorker in 1992 after a decade at Vanity Fair, said she wanted “to make the sexy serious and the serious sexy”. Purists bemoaned what they saw as a slide into vulgar sensationalism, but Grynbaum maintains Brown “wasn’t so much dumbing down the New Yorker as expanding the universe to which it applied its smarts”.

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