New WSJ. editrix Kristina O’Neill played hostess on Wednesday eve at Wallse for a bash to celebrate her arrival, and the new March issue, of course. We caught up with O’Neill to discuss Glenda, whitewashed covers, and cafs.
Do you miss Hearst Tower?
Yes, I do miss Hearst’s beautiful headquarters! Especially the cafeteria.
How are things with you and Glenda? Do you guys have lunch?
Glenda’s been wonderfully supportive. In fact, she’s supposed to be coming tonight. So yes, our relationship is still very strong. We worked together for so long. Working at Bazaar was like family.
Your first cover, Carine Roitfeld’s spread in Bazaar, and much of Deborah Needleman’s work for T has been very simple —white backgrounds, everything looking very clean. What’s the story?
Well, I worked at Harper’s Bazaar for so long that I think you get a little bit of [Fabien] Baron and [Alexey] Brodovitch in you. My aesthetic is very clean. I like to be able to see the clothes and read the type. I think that’s probably been more ingrained coming from Harper’s Bazaar, where I think that’s sort of one of the legacies of that magazine. I don’t know if it’s in the ether, but it’s in me.