本文讲述了劳里·谢克特与安娜·温图尔共事的经历，探讨了温图尔在《Vogue》杂志担任主编期间的职业生涯和个人特质。谢克特形容温图尔外表严厉，内心柔软，并分享了她在不同杂志社与温图尔合作的细节，包括温图尔如何发掘员工的才能，以及她对工作的严格要求。文章还提到了温图尔卸任《Vogue》主编，转任全球编辑总监的举动，谢克特认为这是一种明智的选择，并表达了对温图尔的敬佩之情。

🌟 劳里·谢克特曾与安娜·温图尔在《纽约杂志》、《Vogue》和《家居与庭院》等杂志社共事。她形容温图尔外表冷峻，但内心柔软，并分享了她在职业生涯中与温图尔合作的诸多细节。

✨ 温图尔在工作中展现了极高的组织能力和明确的个人喜好，她既注重宏观规划，又关注细节。她善于发掘员工的才能，并为他们提供发展机会。

💡 温图尔在担任《Vogue》主编期间，对杂志的风格和内容产生了深远影响。她卸任主编，转任全球编辑总监，谢克特认为这是一种明智之举，使她能够继续保持对行业的洞察力。

💖 谢克特分享了她与温图尔在工作和生活中的互动，揭示了温图尔在行业内的影响力以及她对员工的关怀，例如为谢克特举办私人晚宴。

Laurie Schechter worked with Anna Wintour at New York Magazine, Vogue, and Home & Garden.She said Wintour was like a prickly pear, spiky on the outside but soft on the inside.Schechter said it was smart for Wintour to be stepping back as Vogue's editor in chief.

This as-told-to essay is based on a transcribed conversation with Laurie Schechter, 66, from New York, about working alongside Anna Wintour, who recently announced she would step down as Vogue's editor in chief to be global editorial director. The following has been edited for length and clarity.

I first worked with Anna Wintour at New York Magazine, where I was an editorial assistant in the early 80s.

When she became Vogue's creative director in 1983, I wanted to go with her to be a fly on the wall of her process. Though she wasn't warm and fuzzy, she was an incredible teacher.

I continued to work with Anna at Vogue for two separate stints, and at House & Garden, another Condé Nast title at the time.

Working with Anna, I got to know how soft she is on the inside. She's done amazing things for people in the industry, including me.

I followed in Anna Wintour's footsteps for a chunk of my career

Anna was friends with my friend before I worked with her.

My friend said Anna was looking for a new assistant at New York Magazine, and I should apply. But I didn't get the job. A few months later, that assistant quit, so Anna called my office and asked if I was interested. I said yes.

Anna is super organized and is clear about what she likes and doesn't like. She has a big-picture mind but also drills down to what's critical and important.

When she moved to Vogue, I asked if she could take me with her, and she made it happen. I took on a coordinator role, where I organized shoots and did picture research.

In 1985, Anna was made editor in chief of British Vogue, but instead of going with her, I went to work for Rolling Stone.

In 1987, Anna took over Condé Nast's House & Garden. I thought about joining her, but I didn't know what I would do there. It was Anna who had the idea for me to become a style editor. One of the great things about her is she can imagine something for you and identify other people's talents. I got to translate my passion for fashion to the world of interiors.

When Anna became American Vogue's editor in chief in 1988, she invited me to come with her as a style editor, along with others at House & Garden.

One of the first things she did at Vogue was talk to all the staff. She gave people an opportunity to see what she was all about. Some people decided not to stay on, but others did.

Anna may be prickly on the outside, but she's soft on the inside

Anna was very cut-and-dried. Once, I tried to do a page on a theme that wasn't Anna's cup of tea. She gave me permission to go ahead, so I did a shoot and brought it back to her. When we laid out the story, she hated it.

I argued my case, and she listened, but she eventually said to me, "Laurie, drop it." That's very much Anna. She gave me the chance to change her mind, but if something didn't work for her, that was it.

People called her "ice queen" or "nuclear Wintour," but I actually think she has a maternal side she doesn't show to everyone. A prickly pear is spiky on the outside, but soft and sweet on the inside — that's like Anna.

I've seen her do a lot of things for others, and she's done nice things for me, too. When I worked at House & Garden, I eloped for my wedding. When I told her, she decided to throw me a private dinner at her house.

I don't think Anna's going anywhere

It's smart for Anna to get out of the day-to-day grind of being editor in chief of Vogue and still maintain a bird's-eye view on things as a global editorial director. She's a really good delegator, and I'm sure she'll make a great selection to be her successor.

I don't think she's going to disappear. She'll probably be in the front row of fashion shows up until she physically can't anymore.

Anna is a powerhouse and moneymaker. She's made the industry better in so many ways, and she should be celebrated.

Do you have a story to share about working with a prominent leader in your industry? Contact this reporter at ccheong@businessinsider.com.