Linda Wells on the Evolution of Beauty Journalism

You introduced a fun and irreverent style of beauty reporting. Was there a sense of humor to your editing?We did have a lot of leeway, and the space to hit a lot of different notes. Shall we run a whole story about how women are starting to look like Barbies? Yes. There was an ability to explore things and play and have a sense of humor, which I think was really important for— it gave the subject more dimension.

It would also be great to see a little more fantasy in terms of photo shoots. Magazine photo shoots, once upon a time, really influenced photography as a whole. Now we're very concerned with realism and authenticity, and I think that's great. But that shouldn't be the only expression; there is also fantasy, there's artistry, and there's just something that's artifice for the joy of artifice. I think we've lost some of that.

Around the time Polly was getting ready to leave, I started having conversations in dark bars with Paul Cavaco.was in kind of a bad place at that time, visually. We embraced heroin chic; not deliberately, but I think we went too far into that aesthetic. It wasn't so good. Paul was like, "Wait a second. You've got to make this magazine beautiful." I think I was fighting that. I felt that if a beauty magazine was beautiful, it was sort of predictable.

I didn't want my departure to define my career, because my career was great, and I loved Condé Nast, and I loved. I loved everything about it, really. It was strange at the end, [because] it wasn't handled in the most elegant way. Creatingfor all those years — it was an amazing experience to have, and I feel really lucky to have had it. And I loved the people [I worked with]. That's what I miss most.

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