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v
September 2020
86
Editor’s Letter
104
Contributors
112
The State of Hope
Reflections from
Governor Andrew
Cuomo, Sage Grace
Dolan-Sandrino, Tim
Cook, Melinda Gates,
Billie Eilish, Kara
Walker, and Serena
Williams
136
Up Front
Raven Leilani was
raised on the story of
her mother’s salvation.
Her own reckoning
with faith was more
complicated
148
Protective
Measures
The defining accessory
of our era is not a bag
or a chic new shoe—
it’s the face mask
156
Vogue Voices
We asked 100 people
to answer one
question: What is the
future of fashion?
160
Red Hot
FAS HIO N E DITOR: MAX O RT EGA. BOTAN ICAL SCU LPT URES BY F LO RES COSMOS.
In collaboration with
MAC, Rosalía has
created a lipstick
that is very much for
the moment
164
The Good Fight
Aurora James has long
put community
empowerment first.
Will the rest of
the fashion industry
follow her lead?
By Janelle Okwodu
NATURAL HIGH
166 AN ALEXANDER
McQUEEN DRESS,
Signs of the Times PHOTOGRAPHED
An artful new line of BY DORIAN ULISES
jewelry channels LÓPEZ MACÍAS.
our era of anxiety
C O N T I N U E D >7 6
VOGUE.COM SEPTEMBER 2020 57

“We believe in a quality of life that is
authentic and optimistic – one that embraces
a spirit of togetherness, and honors
the individual beauty in each of us.”
“This is a healing period, and it’s also a moment of self-realization.
I go to nature for inspiration and the chance to step outside of consumerism,
the mall, the city. This particular spot means a lot to me as a place of
meditation, and it was special to revisit with my best friend and his sister.”
—Micaiah Carter
MICAIAH CARTER: MARCUS, JORDYN, SAN JOSE
At Nordstrom, our goal is to reflect positively in the communities,

places and people we serve. With that in mind, we wanted to take some time
to listen and to share some of the conversations we’ve been having.
“Everything that’s happening is for a reason. At first, it was so hard to
think of it as a positive, but I honestly feel like there will be change
RENELL MEDRANO: UNTITLED, JAMAICA

after all of it. Our generation is being involved. We have a strong voice
and we have a platform.” —Renell Medrano
“I have hope for a future where balance is
restored and humans are not depleting
the planet of resources – a future where
we help each other and not just ourselves,
where we see each other equally and
without fear.” —Sahara Lin
S H ARA
SAH
SA AR
A LIN, NYC
C
“ There was such a value to get to spend time
with my family, and it also made me realize
hope for my daughter’s future – that there
can be some healing and that would hopefully
lead to a more positive future. If anything,
I’m more focused on exploring the
idea of identity of femininity, which
is very much, for me, a balance of
fragility and strength.”
—Simone Rocha
SIMONE ROCHA: STUDIO FITTINGS WITH NANDINI, DE BEAUVOIR, LONDON

SOPHIA PARKER AND COLLIER SCHORR DANCE DUET OF UNDERSTANDING, 2020
“I’ve learned that I spent a lot of time building

up who I was based on what I did. Having this
time to reflect has made me have to perform
as me rather than as part of an achievement.
When you work alone, you start to accept all
kinds of happenstances. It’s just a completely
different way of taking an idea or an
inspiration and making a picture of it.”
—Collier Schorr
“This image is of me holding my dad’s hand
in Toronto, where I’m from, after he had major
surgery. There’s nothing like being a child
and being creative as a child – that’s a place
I always try to go back to. It’s really the
place where you can make the best work,
when you have that full wonder.”
—Petra Collins
PETRA COLLINS, TORONTO

“I just really have faith in the youth.
I kind of love that there is no
leader, whereas every other big
movement in history has sort
of been led by somebody. Part
of the awakening that’s happening
right now is: there is no hero.
You have to be the hero.”
—Melody Ehsani
MELODY EHSANI, LOS ANGELES. PHOTO: KELSEY KAY
“I wasn’t able to see my mom for a long time this year because
of COVID, but when I look at this picture of us, I always
feel hopeful. When you’re forced to stop, you see clearly
what’s in front of you, what’s really important.”
—Julia Sarr-Jamois
JULIA SARR-JAMOIS: MOM & ME, BRIXTON
S E E M O R E AT N O R D S T R O M .C O M
L I M I T E D E D I T I O N P R O M OT I O N
Where Art Meets

Fashion
SU BSC RI B E TO A YE AR OF VO G UE FO R $ 2 0 AN D
RE C E I VE A LI MI T ED E DI T I O N , CO L L E C T I BL E TOT E .
VOGUE.COM / SEP T E M B E R I S S U E 2 02 0
L I M I T ED Q UA N T I T I ES AVA I L A B L E
September 2020
168 COVID-19 pandemic
Back to Life, truly hit home. Alexis
Back to Reality? Okeowo reports
How can fashion
prepare us for today’s 203
ever-changing world? Local Heroes
By Lynn Yaeger Six small, independent
brands with a sense
172 of place
In His Solitude
Until HBO’s Lovecraft 235
Country puts him at Optimism All Over
the center of the Images selected by
conversation, Jonathan international editors
Majors is figuring out of Vogue represent
life on his own the hope they want to
see in the world
KE RRY JAMES MARS HAL L PORTRAIT: UN TITLED, 2020, AC RYL IC ON PVC BOARD. 25" X 20". © KE RRY JAM ES MARSHAL L. COURTESY OF TH E A RT I ST. P HOTO : TOM VA N EYN D E.
FAS HIO N E DITOR: GABRIE LL A K AREFA-JO HN SO N. HA IR, JIMMY PAU L; MAKEU P, KAN AKO. PRODUCE D BY ALE XIS PI QU ERAS AT AP STUD IO, I N C. S ET D ES IG N, JUL I A WAG N ER .
180
256
Fantastic Mr. Forquet
It Takes an Industry
With a forthcoming
Vogue salutes the
book on the life unsung heroes of the
and style of couturier fashion world, dressed
Federico Forquet, in fall’s standout looks
Hamish Bowles plunges
into la dolce vita
284
JO RDAN CASTE EL P ORTRAIT: AU RO RA, 2020, O IL ON CAN VAS, 98 X 78” / 24 8. 92 X 198.12 CM. © J ORDAN CAST EE L. PH OTO: DAV ID SC HU LZ E .
190 Dreaming Out Loud
A dozen dresses
To the Max representing creativity
For its debut makeup and hope
line, Byredo upends
expectations with a 296
wild, color-saturated The Custom of
collection
COURTESY OF TH E ARTIST AN D CASEY KAP LAN, N EW YO RK. THE JOY NE R/G IUF FR IDA COLL ECTIO N , SAN FRANC ISCO.
the Country
Jaunty jackets and
192 prim skirts blur lines
Block Party between day-to-day
Is the shampoo bar hair and dressing
care’s newest It item? for an occasion
194 308
The Frontline Mayor Last Look
Keisha Lance Bottoms Photography students
was already facing a and alumni create still
perfect storm in lifes with an oversized
Atlanta—and then the handbag or two
Cover Look The Art of the Matter
CHECKING IN
SOCIAL-MEDIA
CONSULTANT CANDACE
MARIE, WEARING AN ASATA For this issue, Vogue commissioned a pair of covers
MAISÉ COAT, A COACH from the contemporary artists Kerry James Marshall
SHIRT, AND A MIU MIU and Jordan Casteel. Marshall’s, above left, pictures
SKIRT. PHOTOGRAPHED BY a figure in an Off-White c/o Virgil Abloh dress;
ETHAN JAMES GREEN. Casteel’s, above right, is a portrait of the designer
Aurora James, wearing Pyer Moss. (A Brother Vellies
shoe also lies nearby.) Details, see In This Issue.
76 SEPTEMBER 2020 VOGUE.COM

©J&JCI 2020
Fashion isn’t clothes—it’s community. To all those who sketch, cut, design, assemble, style,
model, photograph, curate and deliver the fashion that helps us express who we want to be...
TH A N K YOU FOR CRE ATING .

O S C A R D E L A REN TA
ALL LIT UP
ABOVE: FROM VOGUE HONG KONG
AND THE LATE PHOTOGRAPHER
MICHAEL WOLF. RIGHT: CREATIVE
DIRECTOR HENRIETTA GALLINA AND
HER DAUGHTER, GRACE.
High LOOKING AHEAD
Hopes TOP CENTER: FROM VOGUE TURKEY, AN IMAGE BY THE

PHOTOGRAPHER OSMAN ÖZEL. PARSONS SCHOOL OF DESIGN
OS MAN ÖZ EL ; COURTESY OF OL IVIA GAL LI; COU RTESY O F MY LES LOF TIN; JU L IO C ÉSAR DELGADO. DE TA ILS, S E E IN THIS I SSU E .
GRADUATES, OLIVIA GALLI (TOP RIGHT) AND MYLES LOFTIN
(ABOVE), WHOSE PHOTOGRAPHS APPEAR IN LAST LOOK.
THE CONVERSATIONS BEGAN MONTHS AGO, and they included a project conceived months ago as a way to support a challenged
every global Vogue editor in chief. How should we engage with our industry, and it came together under the strictest of safety
C LOC KWIS E FRO M LE FT: © ESTATE O F MICH AEL WO LF. COU RT ESY O F F LOWE RS GALL E RY HON G KO N G ;
turbulent moment? As we look toward our fall issues, what sort of precautions (as do all of our shoots in this time of COVID). Hope
statement should we make? is also about looking ahead, and so we asked 100 creative thinkers
It quickly became clear that what we all longed for—from to help us predict the future of fashion. This omnibus project,
Britain to Russia, from Mexico to Australia—was optimism, a excerpted here, can be read in its entirety at Vogue.com. Hope is
statement of positivity, even joy. And so all of the editors decided also about engaging with the present and making change where
on a common theme: hope. it’s needed, and those ideas are vividly expressed by the designer
This month every Vogue expresses that idea on our covers, in Aurora James and the mayor of Atlanta, Keisha Lance Bottoms,
our pages, and across all of our platforms. There is no uniform both of whom we profiled this month—and by the young group of
notion of what hope means, of course—it can be represented by a art students and graduates we asked to photograph accessories
glorious sunrise in Hong Kong (see above) or a portrait of an for Last Look (page 308). These are the talents of the future, and
infectious-disease expert in Germany, just two of the international their work is already a delight.
contributions that we include in this issue (the entire portfolio Finally, I want to say how honored I am by our covers, which
can be found on Vogue.com)—but it speaks to a value we all care were created for Vogue by two American artists—Kerry James
deeply about. The battle against COVID-19 is far from over, the Marshall and Jordan Casteel. Contributing editor Dodie Kazanjian
movement for racial justice in the U.S. is still fighting for much- tells the story of how these covers came to be on page 104. To me,
needed change, and an election approaches that will be as critical these magnificent paintings express hope in the profoundest way
as any in our lifetime. Hope, now more than ever, is vital. possible: through the beauty of their composition, the breadth
For this issue, we asked seven leading Americans—from New of their vision, and the force of life that courses through them.
York’s Governor Andrew Cuomo to tennis’s Serena Williams to the
trans activist Sage Grace Dolan-Sandrino—to tell us where they
find hope. And we expressed optimism through an extraordinary
portfolio by photographer Ethan James Green, who captured those
who make fashion happen, from patternmakers to hair stylists to
retail workers—wearing the standout looks of the season. This was

the saddler’s spirit
PHOTOGRAPHED BY JOHN GUERRERO
VERAWANG.COM
Contributors
MAKING PROGRESS
CLOCKWISE FROM ABOVE: ARTISTS
KERRY JAMES MARSHALL AND JORDAN
CASTEEL, WITH EARLIER STAGES OF
THEIR COVER PAINTINGS: AURORA, BY
CASTEEL, AND UNTITLED, BY MARSHALL.
Creative Control rich and complex within the blackness alone. I am operating
at the furthest end of the register.” To get the color, he uses three
different black paints, then adds cobalt blue, chromium oxide
green, carbazole dioxazine violet, yellow ochre, and raw sienna.
This issue’s two covers were painted “The color comes up when you stack them on top of each other.”
by a pair of contemporary artists Marshall’s final figure stands regally in a room that opens
onto a penthouse terrace. “The fact that she is some place instead
whose work considers and centers of no place is important,” he says. “She’s not part of the decor.
Black life in America. She has her own presence...she has something on her mind.”
Jordan Casteel, 31, has caught the art world’s attention with her
C LOC KWIS E FRO M LE FT: KEVIN J. MIYAZAK I/ REDUX; TYL ER MITC H ELL. VOGUE , 2018;
intimate, arresting portraits of family, friends, and other people
VOGUE COVERS TALK TO US about who we are and the world she’s observed in her Harlem community. Nearly 40 of her works
we live in. This year, as our world has been turned upside down by were on view at the New Museum when the coronavirus intervened
COURTESY OF JO RDAN CASTE EL ; COU RTESY O F KE RRY JA MES MARSH ALL .

the plagues of coronavirus, racist violence, and presidential in March. For her cover, Casteel chose a real person, designer
incompetence, we invited two Black artists, Kerry James Marshall Aurora James (profiled on page 164), who made headlines in June
and Jordan Casteel, to make paintings for our September covers. with her 15 Percent Pledge urging retailers to support Black-owned
Artists have created Vogue covers before, on rare occasions— businesses. “I believe that what Aurora is doing is hugely important
Salvador Dalí, Marie Laurencin, Giorgio de Chirico, and John in creating the long-term change that Black people deserve and
Currin, who painted Jennifer Lawrence for the September 2017 issue. this country owes us,” Casteel tells me. “I see her as a light in a lot
What’s different this time is that Marshall and Casteel were given of darkness and a potential for hope....What’s most exciting to
complete freedom to decide who would be on their cover and how me is being able to choose my subject matter and the person to be
that person would be portrayed. The only requirement was that they my sitter—someone who reflects a portion of my own identity.”
choose a dress by a Vogue-curated designer for their subject to wear. Aurora sits on her Brooklyn rooftop, wearing a Pyer Moss
Marshall, 64, whose 2016 retrospective at the Metropolitan creation—yards of blue silk folds and ripples, echoing the sky
Museum of Art confirmed his status as one of our greatest living behind her. It’s a baroque image, worthy of Pontormo. “I think
artists, created a fictional character, as he always does in his of the sky as being full of endless possibilities,” Casteel says.
paintings, and dressed her in a white evening dress by Off-White c/o Blue sky also appears in Marshall’s painting. For him, it represents
Virgil Abloh. The dress is spectacular, but your eye goes to her face. “boundlessness—what’s beyond.”—dodie kazanjian
The Black figures Marshall paints have skin so dark that it’s “at the
edge of visibility,” he says. “The point is to show that blackness is For more about the making of these covers, visit Vogue.com.

A
FASHION
STATE
OF MIND
Try something new.
Dress up just because.
Discover new ways to connect,
and rediscover your love
of the great outdoors.
It’s time to have fun with fashion.
It’s time for a fashion state of mind.
VALENTINO NEIMANMARCUS.COM
GABRIELA HEARST
RALPH LAUREN COLLECTION
IT’S TIME
TO HAVE FUN
WITH FASHION.
The number one rule in fashion?
There are no rules. So dress for
yourself—and no one else. Wear
what makes you happy, wherever
you are. Relish the feeling of
slipping on something fabulous and
the confidence it sparks. When you
look your best, you feel your best,
and that requires no occasion at all.
DOLCE & GABBANA
GIAMBATTISTA VALLI NEIMANMARCUS.COM
THE
STATE OF
HOPE
What does hope mean? Where do we find it? This summer, as the U.S. faced rising numbers
of COVID-19 infections, horrifying instances of police brutality, and an election season as
divisive as any in history, Vogue asked a group of leaders, innovators, and creative talents to help
us answer these questions. The result was a personal and inspiring set of conversations and
essays (and a pair of watercolors). Hope may be hard to find at the moment, but it’s part of our
shared humanity, keeps us looking toward a brighter future, and feels more essential than ever.
Governor Andrew Cuomo
H
ope—it’s an interesting concept, We went from the worst-case scenario to their lifestyle on a fundamental and dra-
right? First of all, hope has an the best. That is the evidence that justifies matic basis.
aspirational quality. We want to hope. It’s not wishful. And...they did it. They did it! Not one or
have hope. We are attracted to Who has made me hopeful? There is not a two great people. They all did it. Who would
hope. It is in many ways necessary for the specific person—there is a multitude. I said have believed it?
human condition to have hope. to 19 million New Yorkers—who can be Now, the essential workers—the health-
But hope is not a blind feeling. It’s not some of the toughest, most cynical people care workers prime among them, but all the
a blind belief. It has to be educated, and it in the country—I said we have to reach a essential workers: Look how great they had
has to be informed. I have hope based on period of unity and intelligence that hasn’t to be. I had to convince 19 million people
information and experience. I have hope been achieved in modern political history. of the threat, to convince them to take these
because I see evidence of a better tomor- We need to understand the facts. We need dramatic actions, and in the next breath, I
row. It is realistic for me to have hope. It is to agree on a course of conduct that is more had to say, “Oh, but not you, nurse. Not
evidence-based. Look at what New York dramatic than anything you have done in you, doctor. Not you, truck driver. You’re
did with the coronavirus. When New York’s your life. We must all agree to stay in our essential. You have to go to work tomorrow
outbreak started: highest infection rate per homes, close down schools, close down morning.” They said, “What do you mean
capita on the globe. And the highest infec- businesses, not get within six feet of one I have to go to work tomorrow? You just
tion rate of any state in the country. another. Everybody has to wear a mask if spent seven days explaining how deadly
In June I announced the lowest infection you go out.... “What? What are you asking the virus is, and now I have to go to work
rate in the United States. people to do?” Yes, everyone has to disturb tomorrow morning?” “Yes, you have to go

to work because we are relying on you. We our children a planet that is worse off than movement, and I think they are going to
need you because you’re a police officer, we inherited—and that is not the way I be more aggressive and more ambitious
you’re a truck driver, you have to deliver thought it was supposed to be. I thought about change.
food, you’re a store clerk, you have to stock my father handed me a situation that he But the word hope...the word hope. The
the shelves, you have to work the cash reg- had improved, and I was then supposed reason I belabor the complexity of the word
ister in the pharmacy.” And they called me to improve it and give it to my daughters, is that it’s so overused. It’s almost trite. It’s
up and said, “I don’t understand this. It’s so and they would improve it. So I am very one of those words you really have to spend
dangerous, but I have to go to work?” “Yes, troubled by the prospect that we leave them a moment defining; otherwise it comes
because that is your social obligation to us, a place that is actually worse than we found across as hollow. Hope, love, peace, faith—
and we’re asking you please, as a society, to it. What did we accomplish? Were we a net they are actually profound concepts if you
do it.” “Okay, I’ll do it.” Wow. negative? Now, I don’t believe that will be spend a moment and you go deep.
When I think about young people, I’m the ultimate conclusion. But right now it Think about it. There’s evidence, there’s
torn. Half of me feels as though I should doesn’t look great, right? experience, the human quality. That’s why
apologize to my daughters. Look at the On the other hand, I have tremendous I’m hopeful.
Earth—look at the planet we’re leaving hope for their potential. Young people —as told to taylor antrim
MILTON G LAS ER
them. You have more environmental threats see the issues, and they are not running
than ever before. You have more social anx- from them. They are leading the protests
iety and tension than ever before. You have on racial inequities after George Floyd’s LOVE LETTERS
more poverty than ever before. We’re leaving murder. This is a young-person-driven Milton Glaser’s iconic logo, designed in 1976.
113
STATE OF HOPE
COMMUNITY
TIES
Sage Grace Dolan-Sandrino
F
or me, an Afro-Latina trans girl given to us by generations that have come
and artist, activism is inherent in before. Now we’re mobilizing in a way that
my existence. It’s no longer a sin- has never been possible.
gular identifier. It’s everyday life, One person I look to for inspiration is the
it’s art, it’s community. It gives me hope. writer and activist Raquel Willis, formerly
I run a small creative studio and digi- an editor at Out and an organizer for the
tal zine called TEAM Mag. We’re Afro- Transgender Law Center. She’s now with
Caribbean-founded and -run, femme-run, the Ms. Foundation for Women, and she
queer-run, and for a long time, it’s just spoke in front of thousands at the Brooklyn
been a small group of us. But we’ve been Liberation march in June. I’ve met her in
bringing on new creatives from all over: a person once and couldn’t believe we were in
group of kids producing socially distanced the same room. She’s contributed so much:
content during COVID-19. They have said, She’s equipped Black trans folk like me
“I need this. This is what allows my gears with the language to advocate for ourselves
to turn every day.” and the tools to fight for our justice. She
Community looks so different for so allows people like us to believe in a world
many people: For some, it’s a group chat where we are treated equally and justly.
they have on Facebook, or an Instagram The truth is, it’s still very scary to walk down
chat or a zine collective at their school that’s the street as an openly trans Afro-Latina
now online. Instagram has forced me to girl, and to me, Willis symbolizes not only
be more creative in thinking how to build the day that that will not be the truth but
relationships during this time. I could not also the day that I will actually feel safe.
have made these connections without it. There are not nearly enough repercussions
When the protests started, it would have in society for killing a trans woman: The
been so easy to say, “There’s a pandemic “gay panic” defense is still effective in far
going on outside, there are also killer cops too many states, and the work Willis does
who have been around forever, we have to allows me to think of a day that I will feel
stay inside,” but everyone got together, in safe and confident in ways that I have not
the streets and online. I think it’s a gener- yet been allowed to feel.
ational thing—but I also think it’s been Thanks to her and people like her, young
people aren’t waiting around any longer.
We are changing the world whether you
ROLE MODEL
like it or not. Our determination, our voic-
To Dolan-Sandrino, Raquel Willis, pictured at the
Brooklyn Liberation march this June, is a source es, our bravery, our existence give me hope.
of inspiration. Photograph by Cole Witter. —as told to emma specter

STATE OF HOPE
FAST-
FORWARD
Tim Cook
M
aybe surprisingly, it spreads. These are projects for
I’ve never been more social good, and it really warms my
hopeful than I am heart because it directly shows what
right now. You know, will happen as these kids grow up.
most of history happens very slow- You see this in young people
ly, but then there are these times marching in the street for racial
when you hit an air pocket and— equity, and you see it in climate
wham—things change in a hurry. I change, with the work that Gre-
think that’s happening right now ta Thunberg and others all across
with racial equity. I think you have the world are doing. You see it on
ALABAMA DE PARTME N T O F ARC HIVES AN D HISTO RY. DO NATED BY A LABAMA ME DIA G ROU P. PH OTO BY S PIDE R MARTIN, BIRM ING HAM NEWS.
to look back 60 years to find an college campuses. Kids really get it.
equivalent. You have to look back Hope takes courage. It takes
to the late John Lewis marching boldness, and it takes really hard
across the Edmund Pettus Bridge. work. It takes persistence and grit.
Or fast-forward a few years, and Hope is a foundation that those
you have Stonewall. Both of these other things are built upon. If
were key moments that kicked off you’re not hopeful, then no amount
a sudden change—for African of grit is going to get you by. You
Americans and for the LGBTQ have to be marching to a North
community. And I think this is an Star that looks a lot better than
exciting and hopeful time because where you’re at.
as a nation we have struggled with Speaking of John Lewis…
racial equity for our whole exis- what an enormous loss. He was
tence—and it feels good to be at a an electrifying presence. We had
point where there’s going to be sig- him out to Apple to talk to our
nificant, massive, positive change. employees, and of course I visited
The other thing I would say is that this I think part of that is personal. It comes from him. He and I received honorary doctorates
pandemic is a crisis that we’re all facing. growing up in the 1960s and seeing Dr. King together at Tulane a little over a year ago.
And if you look around, there are lots of and Bobby Kennedy. They were shot down He spoke with such authority because he
good things happening: There are neigh- when I was seven years old, and I saw the lived it and had a wisdom about him and
bors helping neighbors again, which was aftermath of that. Then Stonewall happened, a hope about him that was incredible. He
sort of a lost art for a while. There’s an and though I didn’t know it at the time, that was a hopeful figure because he spoke to the
appreciation for people working the front turned out to be so important to me from idea of when you see something, say some-
lines. The importance of some of those jobs a life point of view. As a community, we’ve thing and do something. And get into trou-
had been forgotten. All of a sudden they stood on their shoulders forever. And so I do ble—“good trouble” is the way he referred
are the pillars of the economy. I think good think it’s personal. to it. That’s always resonated with me. You
things can happen out of that. And on the You know, we just finished Apple’s Devel- can’t turn a blind eye when you see injustice.
health front, I’m sure whatever comes out opers Conference, and a key part of that —as told to taylor antrim
of this, the flu will be less pervasive in the is getting kids involved in programming.
future because all of us have been trained The projects kids brought to us this year, for
LEGENDARY LEADER
to do things like wash our hands, which we instance, help people who have been sexually
“He spoke with authority because he lived it,”
probably should have always been doing. assaulted find resources. Or try to predict says Cook, Apple Inc.’s CEO, about the late Rep.
I see the world through a hopeful lens, and the next mosquito-borne disease and how John Lewis, pictured in Selma, Alabama, 1965.

HER TIME
Melinda Gates
E
arly this spring, in when it’s biased in your
the first months of favor. It’s hard to take into
the pandemic, an account the subtle disad-
interesting trend vantages people must con-
emerged in the data: Coun- tend with when their very
tries led by women appeared subtlety hides them from
to be controlling the out- you. Where women with
break more successfully than decision-making power are
countries led by men. Certain few and far between, invis-
women leaders—Chancellor ible barriers stay invisible.
Angela Merkel of Germany But when women reach a
and Prime Minister Jacinda critical mass, they help us
Ardern of New Zealand, in see things more clearly.
particular—received praise I love that Margaret Mead
G EN EV IEV E GAIG NARD. WE ARE M ORE THAN A M OME N T, © 2020; COU RTESY OF THE ARTIST AN D V IE LME TTE R LOS AN GEL ES.
from all corners of the globe quote “Never doubt that

for navigating impossibly a small group of thought-
challenging times with skill ful, committed citizens can
and vision. change the world. Indeed,
There’s something quite it is the only thing that ever
incredible about that: At a has.” There is no shortage
critical moment in world of thoughtful, committed
history, effective leadership women on this planet, but
had a woman’s face. there has long been a short-
Of course, what happens age of opportunities for them
at the highest levels of pow- to exercise their power and
er is only part of the story. influence through official
Women’s leadership takes channels. Maybe they’ve
many forms and manifests been coming together in
in many ways. There are small groups because that
so many examples I could was their only option.
point to. Activists like Greta So imagine what is possi-
Thunberg, a voice of conscience on the Why is women’s leadership so transfor- ble when those same thoughtful, commit-
climate crisis. Advocates like Reshma Sau- mative? It’s not that women are necessarily ted women are finally welcomed into all the
jani, the founder and CEO of Girls Who better leaders than men, although certainly places where decisions are made and given
Code. Local officials like Keisha Lance they sometimes are. Nor is it that women the chance to drive change from within.
Bottoms, the mayor of Atlanta. Members have different answers to the big questions I think this year is bringing us a little closer
of the grassroots women’s organizations facing society, although the evidence sug- to that hopeful future. @
across India and sub-Saharan Africa who gests they sometimes do. It’s because women
are protecting the health of their commu- view the world through a different lens, so
nities by setting up handwashing stations they ask different questions in the first place. A DIFFERENT LENS
“Women’s leadership takes many forms
and ensuring that domestic-violence In leadership, professional experience and manifests in many ways,” writes
shelters stay safely open during COVID- matters, but lived experience does, too. It’s Gates. Genevieve Gaignard, We Are
related shutdowns. difficult to see the ways a system is biased More Than a Moment, 2020.
117
STATE OF HOPE
GENERATION
CHANGE
Billie Eilish
T
his is a historic year, whether we understand—more than anything, they’re
like it or not. And as horrible as trying. They’re open to being taught what
the pandemic has been, it’s forced they don’t know.
everybody to figure out where I can’t lie, the internet can be a great
they are and what they stand for. It’s almost source to educate yourself. It’s how many
like the world itself just decided that it was people learn stuff, and I think that’s good,
going to lay all of this stuff down and let us for the most part. I’ve learned things I
figure out what to do. was completely ignorant of, and I hope
It’s also a year that has brought out the that everybody can be more open-minded
greatest in some and the ugliest in many. about educating themselves and learning
On one hand, I am more inspired than ever how to do things differently. Can it also
when I see what my generation is doing in drag you down and make you feel horrible?
response to climate change, social injus- Of course. But there’s a lot that’s really
tices, and caring for others. On the other necessary and that needs to be seen which
hand, I’ve become so disheartened when I otherwise wouldn’t be.
see people blindly following past mistakes I’ve attended protests this summer. I’ve
and mindsets that exist only to serve their been doing what I can and donating what
own selfish narratives and needs. I can and signing a bunch of petitions. It’s
I’ve been inspired by young people— been really inspiring and moving. And I
lately, yes, and I always have been. There hope it doesn’t stop.
are so many open-minded and determined It’s hard to feel hope in a time that seems
young people out there who are ready to so utterly hopeless. I have good days and
make some real change. They are out there bad. But I am inspired by the fact that peo-
just doing it: helping and supporting people are coming together and doing so much
ple and opening their minds to different to make a change. Desperate times call for
opinions and lives that are different from desperate measures, and we’re in those
their own. They’re not getting stuck in their times—intensely—right now. I wouldn’t
parents’ views of the world—they have their want any other generation to take all of
own beliefs, and they’re constantly learning this on. This is the exact generation I want
and rethinking things. They’re trying to handling this.—as told to corey seymour

YOUNG AND
RESTLESS
Justine Kurland, Kung
Fu Fighters, 1999.
119
STATE OF HOPE
HOLDING ON
Kara Walker
KARA WAL KER , THE LAST LI MB, 2020. WAL NUT INK AN D SU MI-E IN K O N PAPE R, 16 X 1 2 INC HES; K ARA WALK E R, M OTHER AND DAUGH TER, 2020.
WALNU T INK , GO FU N, AND WATERCOLO R ON PAPE R, 10 X 7 IN CH ES. COU RTESY O F S IK KE MA JE N K INS & CO., NEW YO RK.
HISTORY
AND MYTH
Two new watercolors
by Walker, opposite:
The Last Limb, 2020;
left: Mother and
Daughter, 2020.
I
t’s taken me weeks to sit down and historical and the mythic—but I realize experience of being. It’s a hopeful act: an
try to explain these watercolors. But today that explaining is not needed, as we attentive and often surprising exercise I
weeks I have, time aplenty. These are live in a world of 24/7 explanations, of forget to do for long stretches. But when
selected from a group of modest-size everyone talking at once. the world concentrates so much violence,
drawings, each one containing a kernel Sitting down to make an intimate draw- ignorance, and mind games into little digi-
of my emotional state at the time of their ing is a conversation, a way of listening tal devices we are compelled to carry, I am
making. I am always reflecting on the state to what’s grumbling inside my body, and grateful to have this simple analog practice
of current events and the overlap of the an attempt to transmit, nonverbally, an at my fingertips. @

STATE OF HOPE
ONLY
CONNECT
Serena Williams
A
s a mom, I feel like I do everything, lives, and you actually expect to see a child
and I want to do everything—it’s or dog or something run in the background.
important to me. But I keep a In the past, I might have really been looked
very tight schedule: I want to down upon, like, Wow, this person is not
spend time with my daughter, Olympia, focused. But now it’s a new normal.
but at the same time I’m training, I’m run- This pandemic has toppled work and
ning a fashion company, and I’ve got to do home life structure for everyone—but work-
cardio. So sometimes Olympia will go to ing women carry an unequal share of the
my husband’s office when I’m practicing. burden. Women are statistically more likely
No one else is there, so he’s set up a space to take on schooling, childcare, and home
for her, and it’s become her little school. I’ll tasks, all while maintaining the responsi-
try to pick her up afterward. Then, if I have bility of working remotely. Women are also
a meeting later on, Olympia will listen in, more likely to lose their jobs or see their
which I think is important: My daughter wages cut during this time. I have a support-
at this age is a sponge, and I find hope in ive partner, but this reality is really heavy
the moments when she sees me lead a busi- for me, as I am sure it is for a lot of women.
ness discussion or sit and listen to a young Having devoted my entire life to being
woman from across the country teach me first, I realized that now I want to put my
something new. family first—and as I find that balance
The result is that Olympia and I have got- and figure out a system that works for me,
ten really close. It’s a weird thing: The other Olympia is learning, too. I’m hopeful that
day, I was in the middle of a very important things are going to change—that there will
pitch meeting, and because Olympia is used be societal and corporate shifts that sup-
to me taking her to the bathroom, she was port women to have careers and families,
like, “Mommy, potty.” And I’m like, “I’m if that’s what they want. I hope that from
FAMILY TIES in the middle of talking.” And she keeps this experience, all of our daughters will one
Rosalind Fox saying, “Mommy, potty, potty.” Eventually day want to “play office” and dress up in
Solomon’s Mother
and Daughter,
I took her—I had to do what I had to do— suits just as much as—or more than—they
Brighton Beach, and it wasn’t a big deal. When people work enjoy playing make-believe and dressing up
New York, 1985. from home, you see a different part of their as princesses. —as told to marley marius

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Up Front
Losing My Religion
Raven Leilani was raised on the story of her mother’s salvation.
Her own reckoning with faith was more complicated.
A
year after I left home, I took my mother to dinner On the subject of why we are alive, my mother tells the story
and told her I could no longer keep the Sabbath. best. She was 37 and had been an addict for 21 years. It was the
We drove to the nicest place I could afford, a 1990s, and she lived in the Bronx. She tended bar and sewed all of
JOSE A. BE RNAT BAC ETE /GE TTY IMAGES
Chili’s in Poughkeepsie, New York, and I tried to her hot pants on a Singer machine. The first time she felt me, her
explain that I had looked for God on my own knees buckled and she thought she was going to die. Before the
and found nothing there. It’s an old story, a cliché. pregnancy, she was wild. She had six cats and a motorcycle and fell
Eve hears a whisper in the trees. A church girl leaves home and asleep during my grandfather’s earnest prayers. When my mother
sheds her faith. If the story is about defying God, you can be sure realized she was pregnant, she went to rehab, and U P F R O N T>1 4 0
how it ends. So I did not celebrate my newfound freedom. I waited
for the lightning to come. When it didn’t, I tried to explain myself. HEAVENS ABOVE
I tried to tell my mother why I was turning my back on the faith “THESE DAYS WERE INERT AND ENDLESS,” LEILANI
WRITES OF A CHILDHOOD IN THE SEVENTH-DAY
that had kept us both alive. ADVENTIST CHURCH, “AND AT FIRST I DIDN’T MIND.”

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Up Front A Winding Path
on her last day, she wore white and crawled through a passageway She was exotic to me, and we were inseparable until a few boys
that the rehabilitation center had styled like a birth canal. To in our class insinuated that we were too close.
honor what she regained, she dedicated her life and child to the There is something inherently seductive about dissent. I could
Seventh-day Adventist Church. hear it in each of my mother’s stories before they came to their
For the first seven years of my life, my mother raised me alone. inevitable point. The joy of defiance and the abandon of taking
We went to an SDA church on Grand Concourse, and she ran power into your own hands. I had been taught to fear the devil,
a small hair salon out of our living room. The neighborhood was but it didn’t escape my notice that before he defected, he was the
rough, and I was not allowed to go outside. On Friday afternoons, favorite, the most beautiful one. When I was younger, the binary
we cleaned the apartment and made elaborate vegetarian of good and evil felt instructional and comfortable, but the more
meals with seafood and meat substitutes called Tuno and Wham. people I knew and the more of the outside I saw, the more the
On Saturdays, we were not allowed to work or engage in categories began to collapse. It would take years for the questions
secular activities. These days were inert and endless, and at first to develop and still more time for me to admit that I had them:
I didn’t mind. In the SDA faith, the relationship you have with How could an omniscient being create animals capable of dissent
God is meant to be personal, reciprocal. There aren’t really any and call it sin? How could evil and beauty coexist? We had been
confessionals or middlemen who can forgive on his behalf. He given free will and then asked for blind faith, but there didn’t seem
gives you life, and out of the seven days, you give him just one. to be a human alive capable of adhering to this absolute.
When I was a child, I loved God because I felt like I had The next year, I was sent to a public school. Like our suburb, the
privileged information, like Noah or Moses. But I also loved God school district was affluent and mostly white. In the first week, a
because my mother told me, in graphic detail, about what few students gathered around to touch my hair. My fervent agenda
life was like without him. My older brothers, born when my mother to be good had previously manifested as an obsession with
was 15 and 16, asked her not to tell me so much. They had academic excellence, but my plans were derailed. I knew the Bible
grown up in the life she described, and they wanted to put it away backward and forward, but I was years behind in science and
where it could no longer be seen. My mother insisted. Better math. I made friends eventually, beautiful nerds who didn’t give me
to understand the world too early than too late. This too felt like a hard time for not being able to go to dances or parties on Friday
privileged information. nights, but some of them still challenged me: self-proclaimed
H
atheists from secular homes determined to show me the light, smug,
er stories were unvarnished, full of want and comfortable children who had no reason to reach for God.
error. Drugs were fun, sex felt good, but Of course I envied them. I envied everyone. Catholics who could
everything came at a cost. Some of these stories do as they pleased and simply confess. Cousins who went to
were about men. Together, we named the parts charismatic Black churches where pastors gave sermons from drum
of my body so that I would have the language to kits and congregants were allowed to dance. My response to any
tell her if anything happened to me. Not long doubt I felt was to dig in my heels. I made intricate, 12-hour playlists
after that, an older boy in our church waited of gospel and Christian rock to help me kill
until we were alone and tried to get me out of time. I called a house meeting with my parents
my clothes. I ran from the room, found my I called a house to say that I would be keeping the Sabbath
mother, and used the vocabulary she had given meeting to say that I exactly as the Bible described. An unexpected
me. I knew it could have gone differently, and effect of my mother’s radical honesty over the
this was one of the most evident and peculiar would be keeping the years was that I was turning out very repressed
things about God. Faith appeared to be both Sabbath exactly as and square, and she started to relent.
deeply transactional and a matter of luck. She tried to help me bend the rules in a way
In the year that followed, our luck was the Bible described. An that would maintain my faith and ward off my
mixed. My mother married my stepfather, a unexpected effect of imminent social leprosy, but the first meaningful
charismatic veteran 30 years her senior. way I began to break the Sabbath was to write:
I loved him immediately. He was warm and my mother’s radical hideous, sprawling stories in equally hideous
old-fashioned, but he also liked to gamble, honesty was that I was fonts. I rationalized that this couldn’t be
and soon men were coming to our apartment considered work because it was creation,
in the middle of the night to claim what he turning out very square though of course this is not even remotely true.
owed. To escape his debts, we moved to a For a while, sex was just another route of
suburb upstate and joined a small church. Most of the members escape. The SDA attitude around sex is clear. A prominent member,
were white and over 65. For a year or two, I attended the SDA John Harvey Kellogg, ostensibly invented cornflakes to help
school attached to the church. There were roughly 20 students in people stop touching themselves, and one of the founders of SDA,
the entire school, and I spent a lot of time interpreting Scripture Ellen G. White, called masturbation a “solitary vice.” For all of the
and peeling glue from my hands. One night my best friend told barely repressed guilt I felt about writing on the Sabbath, I felt
me a secret: Her favorite book was Revelation. Not because she none of it about this. I had named my body early, and it was mine.
wanted to be raptured but because of the dragons and the beasts. There was a boy in my church, the only other teenager who
She kept cigarettes in her boots and wanted to be a meteorologist. attended regularly. I was shocked to find how little U P F R O N T>1 4 4

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Up Front A Winding Path
he cared about God, and he was shocked to find how much I did. In the 1840s, a Bible teacher named William Miller predicted
His family situation was unusual, like mine, and he was living with an (twice) that Jesus would return. When that didn’t happen, they
uncle who was trying to get him on the right path. He was sweet called it The Great Disappointment, and the SDA church was
and unreliable and smoked like a machine. He believed in God’s Old born. This is the definition of faith. Despite no evidence or even
Testament form, as excited by God’s power as I was excited by his. evidence to the contrary, you believe—but I could no longer
My body—what it needed, what I wouldn’t deny it—was just deny my skepticism. So I found an SDA church in the Tuscan hills.
one part of how I began to drift. My interpretations shifted to The day I set out to visit it, a storm was coming through. I took
accommodate a more reasonable practice of faith, but making two city buses, and my umbrella turned inside out. When I got
this bargain brought on new questions there, I sat in the back soaking wet and
and crystallized old ones. For didn’t understand a word the pastor
years I listened to sermons about said. Of course the sermon was in
fair-weather Christians who phoned Italian, but the possibility of that had
it in and came back to God only somehow slipped my mind.
when they were in need. It feels a little
diabolical now to think of how he Only in hindsight do I see the irony in
was characterized, not as an omnipotent losing my religion in a place like Italy.
deity but as a father who could be hurt At the time, I was studying painting,
by the sins you would almost certainly and my instructors didn’t so much
commit. Either way, it was this belief in teach as urge me to take it all in. I went
his personal investment that made me out into the city, and my map grew
wonder if my half-hearted participation soft and faint beneath my hands until
was a thing that could hurt him too. I didn’t need it anymore. Between
If he could tell when I was faking it, the pharmacies and tobacco shops,
then what was the point? cathedrals and basilicas shadowed
A
major thoroughfares. Immense
college acceptance demonstrations of human ingenuity
came, along with an erected to show that in comparison
invitation to spend my to God, man is small. Biblical
freshman year abroad. iconography in fresco and oil, tearful
I was given enough Madonnas in marble pietàs, and
aid to make it feasible, tourists waiting for entry into the
and my parents agreed that I couldn’t A NEW VIEW Uffizi. And Jesus, absolutely
turn it down. In Florence, I lived THE AUTHOR’S DEBUT NOVEL, LUSTER (FARRAR, everywhere. As a baby, as a man,
STRAUS AND GIROUX), IS OUT NOW.
in a house with 10 other American as a cadaver on the cross.
students, and we were all full of On my way back home, my
spit and vinegar. On my first night, a Friday, I declined a group connecting flight was canceled because of another storm. It was a
outing because it was going to be the Sabbath, and I took Friday, and I called my parents to let them know that I would be
a walk alone. I was careless and got lost. I still remember how home a day late. The next day, I tried to observe the Sabbath as
afraid I was, how my folding map seemed to be missing every best I could, but every hour or so I had to hustle across the airport
place I ended up. The only thing I could remember was that the to a new standby line. At 11 p.m., the airline finally found me a
Florence Cathedral was in my neighborhood, and I walked until seat on a flight to New York. When my parents came to pick me
I began to see its enormous Gothic silhouette. up, I could feel them sensing the difference in me.
The other students were tolerant and curious about my faith, It was such a relief to be back home that I put off the conversation
but when I explained, the words began to feel like something I had I knew my mother and I needed to have. When I finally summoned
rehearsed. I streamed sermons over the tenuous Italian internet, the courage, she sat across the table and listened as I laid out
and my favorite pastor was a reformed atheist who began many everything. I don’t remember what we ate, but I remember how she
of his sermons with an acknowledgment that it was natural to doubt. smiled. How she took my hand and told the story of her own
I was already a little more relaxed than I cared to admit. I went winding path again. How it feels to fall. Her buckled knees, the white
out with my housemates on weeknights, and we went shopping for clothes she wore, and the light she saw the day she was clean. It is
lingerie in cramped Florentine shops. I put it on when I was alone as much a part of me as the predispositions I would spend years
and loved how I looked. managing before I discovered that I, too, really liked drugs and
Later I threw the lingerie out, and I joined a church group for men who were much too old for me. She didn’t tell the story to deter
American students that involved lots of sprawling potlucks. me, but to let me know that I could always come back. Don’t go too
far, though, she cautioned, and I think of that now when I find
NIN A SUB IN
No one in the group was happy. A Catholic boy from California

couldn’t stop drinking, and a Lutheran boy from Michigan myself in the dark. Not of God, but of human contradiction and
was deeply angry with God. I was angry, too, but mostly with myself. grit. My mother on the pavement, about to pick herself up. @

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Alexandra Gurvitch.
Protective Measures
The defining accessory of our era is not, as it turns out, an It bag or a chic new shoe.
It’s something far more essential: the face mask. Photographed by Stefan Ruiz.
REMAKE/REMODEL
Stitched together from
deadstock fabrics, model
Ugbad Abdi’s prettily
printed Collina Strada mask
($100; collinastrada.com)
isn’t just practical—it’s
eco-friendly too. Carolina
Herrera turtleneck, $890;
carolinaherrera.com.
Hijab by Haute Hijab.
Agmes earring. Tiffany &
Co. necklace. L’Oréal
Paris Infallible Crushed
Foils Metallic Eye Shadow
in Gilded Gold.
MATERIALS GIRL
Model Jordan Daniels’s
upcycled Marc
Jacobs mask ($100;
marcjacobs.com) goes
big on bold clashes
of color, much like her
Versace sweater
($1,150) worn over a
crisp white shirt ($595;
both at versace.com).
Bondeye Jewelry
earring. Marc
Jacobs Beauty
Brow Wow Duo.
JEAN GENIE
A double-layered denim
mask from Romeo Hunte
($75; romeohunte.com)
readies model Eniola
Abioro for a smart day
out. Thebe Magugu shirt,
$750; thebemagugu.com.
Prasi earring. Hourglass
Unlocked Instant
Extensions Mascara.
WILDEST DREAMS SPOT ON

On model Indira Scott, A very chic Tory Burch
an artfully tie-dyed 69 mask ($35 for five;
mask ($6; sixty-nine.us) toryburch.com), fashioned
picks up the coloring from the label’s summer-
of her two-toned collection fabrics, meets
Bottega Veneta dress the cheerful mint-chip hue
(bottegaveneta.com). of model Tess McMillan’s
The slicked-back cool of Prabal Gurung coat and
her cascading plaits, dress; prabalgurung.com.
meanwhile, helps to tie Pat McGrath Labs
everything together. EYEdols Eye Shadow in
Khiry earrings. Giorgio Burnished Honey.
Armani Beauty
Eyes to Kill Eye Quattro
Eyeshadow
in 6 Incognito.
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FULL FLOWER
Model Ariel Nicholson
sports a cotton poplin
mask from Erdem ($65;
erdem.com), its finely
articulated florals a
charming counterpoint
to the blown-up blooms
on a Vera Wang bodysuit
($975) and skirt
($1,750); farfetch.com.
YSL Beauty Sequin
Crush Mono Eyeshadow
in 2 Empowered Silver.
RAINBOW CONNECTION
Model Xiao Wen Ju’s Araks
mask ($40; araks.com)
looks to fall with bright-eyed,
blue-sky optimism along
with a Moschino Couture
coat of many colors
(moschino.com). Harwell
Godfrey necklace. MAC
Cosmetics Chromagraphic
Pencil in Basic Red. In this
story: hair, Nikki Nelms;
makeup, Marcelo Gutierrez.
Details, see In This Issue.
PRO DUC ED BY W ILLIAM GALUS HA
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VOGUE VOICES
WE ASKED 100 PEOPLE—from designers, models, and photographers to
activists and CEOs—to answer one simple (but also incredibly complex) question:
WHAT IS THE FUTURE OF FASHION? Their answers—the majority
of which you can find here; all of them are at Vogue.com—create a revealing
portrait of our times while pointing the way to the future.
Ugbad Abdi, Model Taslima Akhter, Activist In a weird way, times like this sharpen the
Brands should understand the importance and Photographer mind a bit. I feel like it’s a moment to perfect
of assembling a team that is diverse and The fashion-media industry needs to move what you do best—and get it better. We also
inclusive, both in front of and behind the away from looking at garment workers as have the responsibility of where our gar-
camera. I’d like to see more thought being mere victims or as people to be “empow- ments come from, where bags come from.
put into making models of color feel com- ered” by those above them, and look at It’s about storytelling—and if you can’t
fortable backstage, whether that’s in terms them instead as people struggling to live tell the story, you might have something
of the hairstyling or in creating safe spaces with dignity, claiming rights as citizens and to hide. What we need to realize, though,
in which models feel they can speak up and human beings, and demanding greater con- is that the internet is not going to dictate
be heard. More and more, I’m considering trol over their own lives through collective how fast things go. We cannot change the
the brands I work with and whether their political action. Support their cause—don’t world overnight. You have to dismantle it
values align with my own. This is a moment just raise awareness or practice humani- and then rebuild it. This is also a moment,
in which we should all feel more empowered. tarianism. Garment workers in Bangla- I think, for fashion to be slightly quiet,
desh work grueling hours for $95 a month, slightly more introvert—there’s a lot of
propping up the global economy at the cost other voices out there that probably need to
Virgil Abloh, Designer, Off-White of their youth. An equitable fashion indus- be made louder.
and Louis Vuitton (men) try would be one where those who make Fashion is about reflecting society and
I’m 39 years old, and it’s taken 39 years to the garments have greater control over the its values—but it also has to make people
get here, to prove my pedigree. I’m one of production process—through greater bar- dream. It’s a very difficult tightrope. With
the few Black designers on the Parisian gaining power and cooperative ownership, my new collections for both JW Ander-
fashion calendar. There should be more for starters; are not forced to work against son and Loewe, I’ve worked with ideas of
Black design in the conversation, more of their own interests, as they are right now extremities—like this idea of a cashmere
us showing on that schedule. Martine Rose, amid the pandemic, and can earn enough roll-neck with a pair of jeans—and the idea
Samuel Ross, Grace Wales Bonner—these money to live a life with dignity. of something incredibly fantastic, like the
are friends of mine, and I know their ped- idea of dressing up, where it’s about craft.
igree for design is just as impressive as my It’s about bombastic fashion; it’s escapism—
own, if not more. They should be filling up Jonathan Anderson, Designer, it’s all of that in one.
the Parisian houses. JW Anderson and Loewe
I’m starting a scholarship under my name Fashion is all about, What is the future? I Giorgio Armani, Designer
to put 100 Black kids into a wide range of don’t really want to know what the future I am very pragmatic, but I’ve always thought
historically Black colleges and accredited is. I kind of relish the moment. There’s a that reality is a product of the imagination.
design schools in America—a wide spec- huge drive to reinvent the entire wheel, but It takes a lot of hard work, stamina, and
trum. It’s not just inroads within the fashion the whole point of fashion is individualism. stubbornness for that imagination to turn
industry that need attention—it’s like how I So do what is right for you, right now—not into reality—and in this moment of fearful
started, as a 17-year-old kid whose parents what is right for the industry. If you want to insecurity, when the world as we knew it
wanted him to be an engineer, and I said, do zero shows, do zero shows. If you want crumbles and the system collapses, I think it
“No—I want to be a fashion designer.” I to do 400 shows, do 400 shows. Brands is mandatory to adjust, improve, and reshape
mean, I started with a screen-printed T-shirt, that don’t have a strong enough identity the values of fashion, favoring substance
and now I do what I do. It’s like, how do you of their own, that are kind of mimicking over spectacle and product over communi-
even get on that path? something—they’re going to struggle. cation. A careful and intelligent slowdown is

100 VOGUE VOICES
the only safe and effective way forward. Will To truly embrace ethics and sustainability, What I know for a fact—and what I can
we all become a little poorer? Probably, but luxury and mainstream labels alike must help shift—is that in order to be seen and
for a good cause. Greed is one of the worst center their business on equity and justice; heard, imagery is important. It makes us
human qualities, and it is time to put it aside. set targets; and transparently report on their believe in hope and provides possibility.
We have to give back to our work the value climate, water, and waste impacts while Once you discard images of Black people—a
it truly has, as a sign of respect for everyone investing in the livelihoods and communi- designer, a director, a writer, a CEO, a board
involved: me, my design team, the ateliers, ties of garment workers and artisans who member, a celebrity—that reality becomes
and the factories that bring it all to life. I are the backbone of our industry. Design less possible. Even without being told, you
have always believed in an idea of timeless decisions—on everything from fabrics and are being told that you don’t belong.
elegance, which is not only a precise aesthet- colors to the construction of the garments— It’s so simple: Every living person deserves
ic code but also an approach to the design have domino implications on waste, water, an opportunity to live—without fear, or
and making of garments that suggests a carbon, and human rights. caution, or PTSD. As a Black male, to be
way of buying them: to make them last. Mindful consumerism requires buying recognized by Vogue for the first time, it’s a
What I am doing from now on is stressing less, buying quality, and making purchases new step, a new journey. There are oppor-
this with renewed intensity. I am redesign- from companies that treat workers fair- tunities now—the unheard voices are being
ing shows, collections, selling policies, and ly and pay living wages. For fast-fashion heard. But also: Let’s keep talking after this;
communication strategies so that this time- brands (both large and small), survival talk to me about more than this.
lessness comes to the fore. I will show fewer will mean ripping off that “cheap” label,
collections. I will make sure these collections which represents the exploitation of people Andrew Bolton,Wendy Yu
stay for a congruous amount of time in the and our natural resources—because as the
boutiques, matching the selling season with mindful-consumerist movement advances,
Curator in Charge, the Costume
the actual season. fast fashion won’t be forced to slow down; Institute at the Metropolitan
If we learn from our mistakes, we can it will be forced to stop. Museum of Art
build a better system, with a new sense of What I’ve been hearing from independent
togetherness. But we have to operate in uni- Victoria Beckham, Designer and younger designers is a greater emphasis
son, and we have to reshape the system from Everything has to change: We have to look on the ethics of fashion—on conscious cre-
the foundation up. I am ready. at our business model and restrategize not ativity and designing with intention; and on
just for fashion but for beauty as well. What authenticity, craft, and artisanship.
does that look like in the future? How do There’s also a greater realization of the
Ayesha Barenblat, Founder we continue to engage with our communi- power of fashion as a tool for cultural com-
and CEO, Remake ty? How big do collections need to be, and mentary, for social justice and activism; for
Fashion’s embrace of circularity and up- how many do we need each year? [Fashion] telling very political stories that include
cycling is welcome, but that doesn’t address did feel like it was getting out of control. notions of diversity and inclusivity. I’m
the desperate need to slash our volume of There were so many collections and such not hearing as much about multicultural-
consumption. Pre-COVID-19, we were pur- vast collections. Hopefully it will become ism and transculturalism, which I wish I
chasing 60 percent more items of cloth- a much more level playing field. were, which would lead us into conversation
about the decolonization of fashion. But
certainly there’s much more thought going
into notions of nonbinary, gender-neutral
“If what’s happening in America isn’t a REALITY clothing and notions of hybridity with sea-
sonless, ageless, genderless collections and
CHECK and a WAKE-UP CALL for a lot of smaller productions.
Something else I found really encourag-
ing among the young designers I spoke to:
people—for so many problems, from racism and There’s no ambition to work for a big com-
pany or a large brand. They’re more content
colorism in fashion, in acting, in any field—I don’t creating a way of working that suits them
and their customers and allows them more
know what will be.” ADUT AKECH, MODEL control over their own narratives.
Tory Burch, Designer

A purpose-led brand is so important: It’s the
ing than 20 years ago—and keeping each Jason Bolden, Stylist reason I started my company. I was always
garment for half as long. The industry has It’s a moment for a reset—the clients and interested in women’s empowerment. How
been singularly focused on hypergrowth the hair and makeup people are all very can we change the dynamic for women—in
and overconsumption for far too long, and careful who they partner with. They’re the workforce, certainly, but beyond? Very
the constant seasons and cycles (and the looking at their values. Brands are being simply: Fashion can make someone extreme-
ability to buy instantly and constantly) have a bit more inclusive about dressing people, ly confident. When we hear that when a
all come at a very steep cost to people— and the talent is very conscious as well— woman wears something of ours and feels
particularly the women who make our does it need to be a major house, or could more confident—that’s a win for us. Fashion
clothes—and our planet. it be an emerging designer? can change outlooks.
157
something very special. Comfortable is not
“We don’t want to speak for society, but for us, the right word, but easier, lighter.
FASHION is about ENVISIONING

For us, the most important thing is the
fashion show. We value the sense of hand-
craft in our work; we are really close to the
A FUTURE that can help destroy the present.” artisans. And when you see a fashion show
in real life—when you hear the music and
watch the models—you feel something; you
TELFAR CLEMENS, DESIGNER, TELFAR sense the story. In a video, that’s a little bit
different, but we need to work with this too.
Technology is just another way to help to
The pandemic and the Black Lives Matter Laverne Cox, Actress and Activist convey the image and the message.
protests have brought people together. And My relationship to fashion is so different
when we come out of all of this, the concept now: I haven’t done a red carpet in months, Pierre-Alexis Dumas, Designer,
of hearing people and embracing change but I have this lovely collection of vintage Hermès
and not going back to normal is going to be Thierry Mugler jackets that I wear on my We can have great technology—we can have
really important. In America, we’re facing Zoom calls! I have a vintage Dior-bag col- 3D modeling with our computers, and after
something—systemic inequality—that is lection, but they’re just sort of sitting there 10 years of research, we have managed
pretty dark and that’s always existed, but so on display in my closet; they’re not going to print a silk scarf on both sides—but it
many people are coming together. Certain- anywhere. What is the future of fashion if all goes back to the confrontation of the
ly that’s happening within our own team. we’re not leaving our homes? It’s making mind and the hand with the material. And
We can actually have tough conversations, me rethink my relationship to stuff— I still we have to respect the great provider of
or make conversations that are tough less love beautiful things, and I think there will material that is nature and make sure in
tough. I want a workspace where people always be a place for that. But seeing that our relation to nature that we don’t destroy
feel safe to express how they feel—to dream kind of beauty out in the world? I don’t the source of the material. Textiles [are] a
and escape and delve into creativity and feel know when I’ll have that experience again. creative field where we can explore again,
passionate about what we’re making, but using the fibers that nature gives us; we can
also feel that they’re being valued and heard. Brandice Daniel, Founder and re-explore, rediscover new materials with
CEO, Harlem’s Fashion Row this idea that I think is going to become
Sarah Burton, Designer, When I started Harlem’s Fashion Row in the norm, which I call eco-conception.
Alexander McQueen 2007, speaking about race was taboo—and The two words for me in eco-conception
I made a decision early on in lockdown there were about three Black designers that are ecosystem and conception. An ecosystem
only to use fabrics that we already had on had notoriety. Since then, race has become is a sense of balance. It’s like farming; if you
hand: Print on them, reinvent them, and more comfortable to speak about, and we exhaust the land, you will not be able to farm
make them feel new. It also made me very now have over a dozen well-known Black anymore. You need to anticipate and rest
aware—again—of how much time things designers. Finally the fashion industry, so that you will have a balanced relation-
take to make, and the importance of only which is supposed to be one of the most ship, and I think that it will take time for our
making things I passionately believe in. It’s progressive in the world, is speaking about industry to really include that in its process.
our responsibility to protect the things from race—it’s easy to speak about diversity and
the past that we love—to preserve our val- inclusion, but race often gets left out of that Cynthia Erivo, Actress
ues, signatures, and history—but it’s also conversation. The fact that major organi- I think there’s a reason why my style team
our job to innovate. There is comfort in zations have put action plans in place, and is all Black—they all innately understand
familiarity and excitement in experimen- that brands are acknowledging the systemic who I am. There’s a reason why we make
tation. The two coexist. issues racism has caused, is a major leap. decisions together. More than anything,
Black people in fashion have been used as I’m going to keep looking for Black design-
Maria Grazia Chiuri, inspiration, revenue, and influence, but not ers to keep enhancing what we do, to keep
Designer, Christian Dior been given the power to make real systemic growing. Kerby Jean-Raymond is getting
The explosion of activism in the U.S. that change. I’m hopeful that we can change a lot of attention with Pyer Moss, but he
has spread throughout the world requires us that, but I think we’re all skeptical. What deserves more. I want to see him every-
to find a way to visually express ourselves— will your racial diversity look like in your where—I want to see him on billboards.
where we stand in a movement, what we office in two years? I can only trust the I’ve purchased a good few pieces from
think about an idea. The way we dress is brands that are willing to make a meaning- Anifa Mvuemba with her Hanifa label,
a manifesto of the way we think; it reveals ful, long-term commitment. who makes beautiful clothes—wouldn’t it
what is hidden behind the masks we wear. be wonderful if we could see more women
From now on, I expect people will be more Domenico Dolce and Stefano celebrated?
and more aware that fashion is a very useful Gabbana, Designers
tool to make a statement, to take a stance. Social life now is not about going out, it’s Silvia Fendi, Designer
Fashion’s relevance comes from the power about organizing something at home—and We need to reconsider the value of things.
of clothing to be more than just clothing— dressing for your home, and for yourself, is I’m thinking of products made by people
to comment on contemporary issues and, totally different. People still want a dream, who are not paid enough: When you buy
possibly, to have a positive effect on them. but in a different way—caftans or kimonos, a T-shirt for $10, you have to ask yourself

100 VOGUE VOICES
a few questions because there’s something needed when they were living a more social relevant. It’s not always easy in fashion.
that is not correct. So what is considered and public life. We are also living through a There’s a lot of competition—it’s friendly, but
“luxury”—which is to me a stupid word—is global recession, and that too has altered the it’s very competitive. And we’ve been pushed
probably, today, going to be reevaluated. minds and the bank accounts of consumers. to be more and more competitive with the
What was a “luxury” item—maybe today we And on top of that, there is a kind of global numbers of presentations and actions we
can call it a “quality” item and maybe we can psychological depression taking place. were taking. I think this moment is super
ask why it costs so much and how many peo- This means that products need to be either important for unity; for supporting the
ple had to work to make it what it is. I look highly practical and more casual, or they [labels] that are having difficulties. The mar-
at how committed the younger generation need to make you smile—things that are ket can’t be a monopoly. I know the Cham-
is to protest for change—they’re going into a bit quirky and could seem frivolous but bre Syndicale is working on a lot of that, but
the streets and fighting for things they love. have the effect of cheering up the consumer. I think everyone should take action—I am
They seem to be redesigning life. This is not the moment for ostentation; it’s working with LVMH on this—to make sure
the moment for sleek, easy chic—the kind people can support each other as we emerge
Livia Firth, Cofounder, Eco-Age of clothes that you might wear to a quiet out of this complicated situation.
I think there will be a huge resurgence of dinner at a friend’s house. But let’s also There was already a great consciousness
[emerging] brands. My vision for them is remember that after the Spanish-flu pan- in the industry of goals we had to resolve,
that they will all come together and find demic, we had the Roaring Twenties. It is on many subjects: sustainability, obviously;
ways to share factories and suppliers. The human nature to self-adorn and to want inclusivity, of course. The fact is that some-
consumer will look for the stories behind to show off and express one’s personality times the perception of fashion was very
the brands and the dresses, and they will and mood through clothing. Fashion is a exclusive, sometimes too exclusive. Some-
want to reward those artisanal aspects, as pendulum. The restraint of today will lead times fashion wasn’t always aware of who
well as the brand that is able to talk about to the excesses of tomorrow. it was talking to. But the situation in the
“I believe in HANDCRAFTING—in clothes that

take a lot of time and human hands. We’re trying to work
as much as we can on PIECES THAT ARE
EXCEPTIONAL, that have value—clothes that you don’t
throw away.” JULIEN DOSSENA, DESIGNER, PACO RABANNE
small production done a certain way, and I believe that this moment has driven world has created a kind of acceleration—
why it’s special. Ultimately, I think indepen- home something that we have been aware an emergency of what we knew we had to
dent brands will survive much better than of for many years but not acted on in the change and evolve.
the big brands. way that we should have: Our industry needs
to be representative of the world at large, Molly Goddard, Designer
Tom Ford, Designer and which is increasingly integrated and diverse. We never wanted to make clothes that are
We have all lagged behind what has actually trend-driven. The reason I went into fashion
Chairman of the Council of been happening in the world. We need to was those Victorian nightgowns that were
Fashion Designers of America connect the enormous talent in the Black handmade—those things that had taken so
The thing about fashion is that we never community with positions that are available much care and love that you would never give
really know where it is going to go until a few across all aspects of the fashion industry. them away. I want to carry on making things
months before it starts to move. Who would that are precious. If you have a really strong
have thought six months ago that we Nicolas Ghesquière, Designer, signature, people will always want that. If
would be where we are now with COVID-19 Louis Vuitton you’ve been more trend-driven, maybe not.
and the social upheaval that we are experi- I really hope that Paris Fashion Week is not Going forward, there might be a bit less
encing? Obviously this will affect fashion going to be only the big brands—this is room for that kind of really special clothing—
dramatically. People are not going out— the moment to support the smaller brands we will need pieces in which to walk to work
they need a different wardrobe than they that make this wonderful world of fashion and sit in the park—but V O G U E V O I C E S >1 74
159
Red Hot
A collaboration between Rosalía and MAC allowed the singer to muse on the flamenco
influences of her youth, while creating a lipstick that is very much for the moment.
R
ed is my favorite color,” Rosalía says. “It always reminds lipstick that will be sold next to the brand’s classic Viva Glam colors.
me of flamenco.” Born and raised in Sant Esteve Sesrovi- As a child, Rosalía and her older sister, Pilar, who often works with her
res, a Catalonian town inland from Barcelona, the singer as her creative director, would take turns doing each other’s makeup
began studying the art form when she was 16. “When I with their mother’s hand-me-downs. “When I was very young, I would
was a teen,” she continues, “I would draw a really, really long line watch my mom put on makeup before she went to work,” Rosalía
around my eyes with eyeliner, like recalls. The singer began doing her
Lola Flores”—the Andalusian fla- own makeup when she started per-
menco performer who appeared in forming at weddings and small bars
some 40 films. “Lola always had on at 16. “It was like a ritual, getting
her gold, had on her eyeliner.” ready before going onstage.”
The 26-year-old Rosalía grows “I remember being 20 years old
animated as she lists her aesthetic and saving all my money so I could
touchstones. “Carmen Amaya,” she buy MAC eye-shadow palettes or a
says, “had a very masculine look; makeup brush,” Rosalía says. This
she always had really strong, delin- affinity also makes sense: If you’re a
eated eyebrows; her lips were always young adult who loves makeup and
painted. And at a time when the maybe identifies as a little outside
bailaoras always wore dresses, she the mainstream, MAC is often your
wore pants.” The appeal of this jux- first stop. While many cosmetics
taposition makes a certain kind of companies in the ’90s were sticking
sense; Rosalía’s 2018 breakthrough with rosy tween-friendly imagery
sophomore album, El Mal Querer, and pastel palettes, MAC was estab-
mixed flamenco music with dance, lishing itself by featuring RuPaul
R&B, and techno. In the video for in thigh-high, cherry-bright boots
her latest, infectious single, “TKN,” and designing a lipstick for Madon-
a collaboration with Travis Scott, na that would last her through the
the singer stomps through a desolate sweaty performances of her Blond
suburban landscape, followed by Ambition tour. Rosalía cites a
a ragtag crew of kids—she’s part long-standing admiration for Ruby
nurturing house mother, part high Woo—the classic MAC lipstick that
priestess of a pint-size coven. has initiated many women into the
In her look as in her music, land of the red lip. “MAC proposed
Rosalía is drawn to contrast, often a few tones, and then we worked
wearing a bare face with a strong back and forth,” she says of the
PH OTO GRAPH ER, RO.LE XX. MAK EU P, ARIE L TE JADA; HAIR, JESUS GU ER RE RO.
brow and (you guessed it) a red BRIGHT SPOT process of devising her own shade,
lip. It’s a funny time to be chatting From a punchy pout to out-to-there nails, a bold beauty equation “sending each other samples and
has become Rosalía’s calling card.
about beauty influences, howev- comments.” The resulting lipstick,
er. When we speak in late June, VG26, is a bright red not unlike the
Rosalía, born Rosalía Vila Tobella, has been in Miami for months. tone the singer often wears on the covers of magazines. “I told them I
The world has been in a state of suspended animation due to the always prefer a red with a little blue; it makes a big difference,” she adds.
pandemic; some places, like Barcelona, where Rosalía’s family lives, The singer’s mind drifts to the kind of impact she’d like to have
are beginning to open up, while other cities and states are seeing more broadly, another element of working with MAC that appealed
new surges of infection. Like all of us, Rosalía has found her coping to her. Since its launch in 1994, Viva Glam has raised more than $500
mechanisms—albeit ones that involve less sourdough starter. She million for charities ranging from Harlem United to God’s Love We
has been taking advantage of the isolation to luxuriate in the writing Deliver. This year, they have also pledged to donate $10 million to
process: “Right now, I feel like I am remembering the way I used 250 organizations working with communities affected by the
to make music, which is from a place of full freedom.” And she has COVID-19 pandemic, particularly the Black and Latinx commu-
been trying out new pastimes. “For a long time now I’ve wanted to nities that have been disproportionately afflicted. “There are so many
learn how to DJ, so now I am, and I love it so much,” she tells me. “I communities that have been affected by COVID,” Rosalía tells me.
think doing the things that make you happy makes you beautiful.” “It’s been hard to be away from my family, and the truth is I was
This month, Rosalía has had the opportunity to further explore very worried. I am happy to be able to contribute just a little to help
her distinct idea of beauty, working with MAC to release a new matte people during this time.”—laia garcia-furtado

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164
The Good Fight
Since founding Brother Vellies in 2013, Aurora James has built
a slow-fashion business that puts community empowerment
first. Now she’s persuading the rest of the industry to follow her lead.
By Janelle Okwodu. Photographed by John Edmonds.
O
verseeing the annual sample fighter,” she says between sips of water. “I level of dedication. “I’ve just been on the
sale at her Greenpoint, Brook- started Brother Vellies at a flea market and phone talking to everyone and trying to have
lyn, boutique, Aurora James is fought my way into every scenario, tooth them do positive things,” she says.
in her element. The minimalist and nail. I’m always going to fight for my James credits friends like former Teen
space has been transformed into a kind company—and for people that haven’t had Vogue editor in chief Elaine Welteroth and
of ad hoc exhibition of the back catalog of the same opportunities.” stylist Eric McNeal with getting her through
Brother Vellies, James’s accessories label, Community is central to James’s world- a sense of isolation brought on by the pan-
with glitter-flecked boots and glossy pink view, from her inner circle of Black creatives demic. “My friends and I will just ride our
sandals spread out on concrete floors as a to her relationship with online fans to, well, bikes by each other’s houses,” she says. “I’ll
staff composed mostly of animated Gen- the community she’s surrounded by right get these texts, and suddenly it’s like I’m sev-
Z’ers unboxes more and more goodies. With here. At 36, she appears to have found her en years old again—I’ll open the door and
shoes arranged in pastel semicircles and iri- people. Throughout our conversation, she’s find Eric there with candy asking me how
descent piles, the shop—replete with Hugo greeted by familiar faces: the local postal I’m doing. It makes me well up sometimes
S ITTING S E DITO R: CARLOS N AZARIO. P RODUC E D BY A LE XIS PIQUE RAS AT AP ST UDIO, INC. SE T DES IG N, GE RARD SANTOS.
McCloud–designed columns and windows worker; a bespectacled acquaintance led because it is this beautiful human connec-
festooned with Cleo Wade poems—feels down Oak Street by his twin pit bulls; the tion.” For Welteroth, though, James is the
like a confectionery. James sees her hand- longhaired proprietors of the record store, glue that holds their group together. “We
made pieces as potential pick-me-ups, treats each armed with boxes of vintage vinyl. bonded as women, and as Black women,
intended to lift the mood. “How can we use Amid a rapidly gentrifying neighborhood, within this business to build a sisterhood
these amazing materials, vegetable dyes, and she’s cultivated a sense of small-town inti- based on mutual respect and admiration,”
all the gifts Mother Nature gives us to make macy. When COVID hit, her first thought says Welteroth, who has been helping
each other feel better?” she asks. “I want to was “Oh, no—my little hive’s in trouble,” James with outreach for the Pledge project.
see people happy again!” she says. “I’ve always thought of Brother “There is this deep loyalty and desire to see
Taking advantage of a mid-July sunny Vellies as this community, and here we all each other win.”
day, James directs our conversation out- were, watching the world collapse—it was It’s a sensibility that James cultivates
doors to her preferred meeting place: the like a movie. The last thing you’re thinking online as well, where she shares her self-
wooden bench beneath a linden tree and about are shoes and handbags.” care habits and culinary expertise with an
next to a bike rack outside the neighboring In the middle of the global pandemic, mil- audience of thousands who tune in for her
record store. The setting doesn’t get more lions of us engaged in an extended Netflix morning-coffee update and stay to listen
millennial Brooklynite, and James looks break, but James’s sojourn was life-chang- to her thoughts on love and romance. Pas-
the part of an Instagram muse. Even with a ing. From a wicker chair in her Clinton Hill sionate about perfumery, she mixes scented
bright-blue surgical mask obscuring her fea- brownstone, James launched an initiative set oils in her spare time, sourcing ingredients
tures, her waist-length hair and yellow linen to have a lasting impact on the way fashion— from her travels. “They say that scent is
short set draw the eyes of passersby. The and beyond— operates. Her 15 Percent your strongest sense tied to memory,” James
whimsy, though, hides a steely side. “I’m a Pledge calls on the world’s biggest retail- explains. “Over the course of the pandemic,
ers to devote shelf space to Black-owned I’ve really relied heavily on a lot of these
businesses and suppliers, prioritizing the notes to ground me, inspire me, comfort me,
BRIGHT IDEAS talents of underrepresented communities to and even just to help give me the strength to
“I’m always going to fight for my company,” level the playing field. Such an undertaking keep going.” This winter, she’s set to release
says the Brother Vellies founder, would be daunting for an entire team, but her first scent, created in small batches.
“and for people that haven’t had the same
opportunities.” Hair, Jawara; makeup, for one woman pushing herself nonstop, it An Andrü Sisson text art scrawled across
Fara Homidi. Details, see In This Issue. required—and still requires today—a unique the walls of the C O N T I N U E D O N PA G E 3 0 4

Signs of the Times
A new collaboration between Liz Swig and
Rashid Johnson channels our era of anxiety into
an artful and provocative line of jewelry.
W
hen the art collector Liz Swig approached the So to make them wearable reminders—that was something I was
American artist and filmmaker Rashid Johnson in interested in.” (Johnson’s proceeds from the collaboration will be
January about a jewelry collaboration, she could split between the Black Mental Health Alliance and Prep for Prep,
little imagine that by summer, Johnson’s frenzied a program that helps to place students of color in northeastern
Anxious Men drawings—on which she’s based a collection of independent schools.)
cuffs, ring bands, signet rings, and military tags, available this With nods to his personal taste in jewelry—“I’ve always been influ-
month—would become a startlingly effective shorthand for the enced by hip-hop and the historical employment of jewelry by some of
national mood. Since 2014, Swig has partnered with the likes of my heroes,” Johnson says, noting the heavy gold chains of Isaac Hayes
Kara Walker and Cindy and Mr. T—the ultimate-
Sherman to offer por- ly genderless collection
celain tableware, cameo is subtle and substantial,
jewelry, and other objets pretty and provocative.
d’art through her creative Where there’s a dialogue
platfor m, LizWorks, between the modern and
and after asking seven antique in Swig’s cameos,
women artists (includ- there exists in this series an
ing Mickalene Thomas intriguing tension between
and Rachel Feinstein) the feverish energy of
to reimagine the charm Johnson’s motif and the
bracelet in 2016, “I want- luxurious permanence of
ed to explore male energy the materials. All signed
in the realm of jewelry,” and numbered, the pieces
© RAS H ID J OH NSON/COURTESY OF TH E ARTIST AND HAUS E R & W IRTH/P H OTO: MARTIN PARS E KI AN ; T HOM AS KLE TEC KA .
Swig says. come in nine-karat gold
She found a good way and gleaming titanium,
in through Anxious Men, some punctuated with
a rare experiment in figu- diamonds or rubies. The
ration for Johnson. (Since scarlet enamel on a ring
emerging from the Art and a military tag matches
Institute of Chicago in the vivid coloring of John-
2005, the artist has main- son’s Untitled Anxious
tained a largely concep- Red Drawings, which he
tual practice combining exhibited online in April
photography, film, and through Hauser & Wirth.
sculpture.) Reconciling To wear the collection,
themes of mental health, Black identity, and contemporary urban Swig says, requires a certain boldness: The person she sees in it
life, his sketchlike portraits—originally made from black soap and “has a point of view that fills the space.”
wax on tile and displayed at the Drawing Center in New York in Its debut amid a raging pandemic and resurging Black Lives
2015—were “complex enough and approachable enough at the Matter movement couldn’t have been planned, but Johnson and
same time,” says Swig. For his own part, Johnson liked Swig are proud of both the collection’s timeliness and its
the idea of miniaturizing and mobilizing his typically potential to transcend the particular moment. “When I
oversize compositions. “Some of the things that my first started making this body of work, there were issues
work speaks to essentially travel with you, quite literally around police brutality and violence that I was quite
on your person, like issues of anxiety and fear,” Johnson conscious of,” Johnson says. “I was also thinking about
says, “and some of the works function as illustrations of my own struggles with anxiety. But as the coronavirus
those concepts and, in some ways, as cathartic objects. crept into our lives, [the work] pivoted to kind of con-
sume that space, and with the more recent reckoning
around race, it pivoted to kind of capture that as well.”
CODE RED
He’s been pleased to discover the nimbleness of Anxious
above: Rashid Johnson’s Untitled Anxious Red Painting,
2020. right: A titanium military tag from the collection; Men: “It’s able to be present for the environment and the
available at lizworks.net. place and the time that it occupies.”—marley marius

ELEMENTS OF STYLE
A cozy knit dress from Bottega
Veneta 2019 (far left) and
seriously walkable Louis Vuitton
boots from 2016 toe the line
between comfort and utility.
Back to Life, Back to Reality?

How can fashion prepare us for today’s ever-changing world? Lynn Yaeger has
a five-point plan—from new fall looks to what’s already in your closet.
F
The Sweater Set
LE FT: BIB I CORN EJO BO RTH WIC K. VOGUE , 2020. RIGH T: JAMIE HAWKESWO RT H. VOGUE , 2015.
ace it: We are living in what, to put it mildly, might be
described as interesting times. But there are still certain Once you get used to sloshing around the house in athleisure clothes
inevitable developments that bring optimism and a sense unfit for human eyes, you may not want to greet the new season in
of joy—a crispness in the air; that first afternoon when you anything that doesn’t equal that almost decadent level of comfort.
notice leaves turning from green to gold. When the seasons change, Thus the appeal of fabulous knit dressing, which can range from a
we may actually find ourselves thinking about fashion—even if we brand-new Marni patchwork cardigan that lands above the knee to
are looking at the fall collections with a very different eye. Six months that easy Bottega Veneta V-neck sweaterdress you bought last year
after these clothes first came down runways, though the world is in (above left). “You still want fashion, you still want excitement—you
a place none of us could have imagined, we still want clothes that still want to look great on your virtual meeting or virtual date,” says
have the power to do what the best fashion has always done: elevate Victor Glemaud, the creator of knits distinguished by a special stitch,
our spirits, comfort us, and make us feel good about ourselves (even a slash, or—a Glemaud specialty—the one-shoulder silhouette.
if we have to wear them with a mask). Glemaud argues that his knit dresses are for every wearer, which is
We may find ourselves relying on what is already in our closets— why, when he was honing his direct-to-consumer business during
clothes that have made us happy in the past and that we look forward quarantine, he decided to offer sizes from extra-small to 3X. “I am not
to wearing again. Or we might be contemplating adding something designing in a bubble,” he says. “This is about the world we live in now.”
new—something practical but still beautiful that reflects our new
reality. Whether old favorites or fresh acquisitions, what we seek now Hoop Dreams
is fashion that is desirable but also genuine and relevant—things like A designer we know advised recently that when you are living so
comfortable, curvy knits, screen-worthy statement earrings, perfect much of your life on Zoom, it’s more flattering if you just lean in and
blouses for Zooming, chic combat boots for hitting the streets, or a fill up the whole screen. This anti-shrinking-violet advice may be the
cozy ensemble that literally reminds you of home: in short, the kinds reason why bold earrings are so desirable at the moment: With your
of clothes that feel right, right now. face so often viewed in close-up, an arresting earring R E A L I T Y >1 7 0

by invitation | tipsntrends, inc. | 323-525-1700
ADVER TISEMENT
invariably has more impact than a delicate little stud. At Schiaparelli’s INSIDER’S CLUB
fall ready-to-wear show, a hoop with spindly tentacles had an eye Among other things, the pivot to working remotely has meant an emphasis
plopped in the center, an homage to the house’s Surrealist past; at on dressing from the waist up. See (from far left): shirts that go joyfully
over-the-top (like this 2017 Off-White c/o Virgil Abloh number); fabrics
Givenchy, the earring was deconstructed, its loop cleverly undone. riffing on the great indoors (this 2019 look, courtesy of Etro); and elegant
“It’s all about a statement earring—like AOC wears!” says Jameel hoop earrings (this one from Khiry).
Mohammed, who began his jewelry line Khiry four years ago, and
who has deeply personal reasons for why he believes daring adorn-
ment is resonating. “Over the past few years, we’ve been looking public transportation, but the tough charm of a combat boot—wheth-
at the cultural significance of hoops for people of color who were er our well-worn Doc Martens or a newer iteration—can make us feel
excluded from conventional notions of beauty.” The hoop—like the literally more grounded. The current crop manages to be both seri-
one he designed at top right—he says, has its roots in “the Black Is ous—the ones at Valentino would brook no nonsense—to winsome
Beautiful movement, alongside the Afro. The hoop became a signifier (well, as winsome as an army boot can be): the chalky whites at Dior
of their femininity.” Now, Mohammed says, he is thinking about are jaunty as sneakers, while Vuitton’s two-tone version kicked up a
earrings and gender. “The world is changing very quickly!” storm for resort 2016 (previous page). Chris Leba, creative director of
FRO M LE FT: INE Z AND V INO ODH. VOGUE , 2017; WILLY VAN DE RP ERRE . VOGUE , 2019; CAMP BE LL ADDY. VO GUE , 2018.
the cult brand R13, has a particularly fresh take: His boots are poised
Starting From the Top on platforms—a deliberate attempt, he says, to tackle and transcend
Wouldn’t it be nice, after all this time, to feel neat and pulled-together? gender assumptions through footwear. “High heels can be seen as
Consider the discreet charm of the perfect blouse—even if you’re only too feminine, and the flat combat boot is maybe too masculine,” he
dressed up from the waist up! At Balenciaga’s fall 2020 show, a pink offers—and thus his affection for the platform boot was born. Leba
polka-dot affair boasted wildly extravagant sleeves; Saint Laurent thinks such boots are meant for the ages: “They are like your favorite
flaunted versions of the house’s iconic pussycat bow, while shimmer- jeans. Right now, we want to grab the things that have been with us for
ing tops from Christopher John Rogers may well wake you up for that a long time, and the things that hold a special place in our psyches.”
morning meeting faster than a double espresso. Simone Rocha, known
for her elaborately detailed blouses that manage to be both feminine Closer to Home
and feminist, recommends sticking to black or white and dazzling your These days, a house is not just a home—it’s also your office, your
virtual cohort with a big ruffly sleeve or a Pierrot collar—the better to playroom, and the place where, more and more, you entertain a select
put the “party” in Houseparty—while some supersized ruffles on an group of people. As we shift from going out to entertaining in our
Off-White piece (above left) are sumptuously hard to ignore. “It needs living rooms, it’s not surprising that clothes affording a measure of
to be comfortable when you’re sitting down,” Rocha says, “but you want warmth and comfort are so appealing: Even when you venture outside,
something that is beautiful—I feel like such a grown-up in a blouse!” it seems, you may want to shelter in place. You might want to wrap
The designer Nellie Partow thinks the blouses that spark the most joy— yourself in a quilted skirt, reminiscent of a tea cozy and ideal for an
and can look the most professional for, say, a virtual job interview—are intimate dinner party, from Erdem; a coat created from a repurposed
often deep coral, vivid electric blue, emerald, teal, or saffron. Her bedcovering from Marine Serre; a paisley suit with an upholstery air
drop-shouldered shirts, made in the spirit of menswear tailoring, by Fendi; or a romantic dress, like a shawl, from Etro last year (above
are meant, she says, to bring “a sense of security, and to uplift you.” center). Emily Adams Bode’s eponymous company specializes in gar-
ments created from the literal fabric of our lives: repurposed vintage
Boot Camp napkins, curtains, quilts, and tablecloths. Bode says she is fascinated by
Could it be that all the walking, hiking, running, and biking we’ve the hidden narratives these textiles hold. “When everything stopped,
been doing lately is the reason we have fallen in love again with flat our employees made one-of-a-kind things from their homes,” she
boots? Maybe it’s because we are spending so much of our downtime recalls. “I want people to be excited to buy my clothes, and to pass
exploring our own neighborhoods and avoiding, when we can, taking them on,” she says. “For me, that is what clothing is about.” @

In His Solitude
Jonathan Majors’s starring role in HBO’s timely new drama Lovecraft Country has put him
at the center of the conversation. But this summer, he’s figuring out life on his own.
IN THIS STORY: G ROO ME R, S INC E RE GIL LES FOR DIR ECTOR’S CU T, IN C.

T
he actor Jonathan Majors materializes on my computer was 22. “The world was just becoming my place of dwelling, and all
screen like an Impressionist painting brought into focus: of a sudden I had to make room in it for two. It was scary,” Majors
He is sitting in the peach-walled courtyard of a hacienda recalls. “She grew my heart and stretched my spirit in a way that I
in New Mexico, and behind him are the slender base of a had never experienced before or since.” Being a father helped him
tree, springy green plants, bright purple flowers, and a blue ceramic become more vulnerable as a man and as an artist. “Camus talks
vase holding more flowers, yellow this time. I can hear Ella Fitzger- about the position of an artist in interesting times,” Majors says.
ald’s song “Solitude” playing in the background. The 30-year-old “And this is a very interesting time. And a double whammy for us as
star of the new HBO horror series Lovecraft Country, about both a race of people.” He has been attending Black Lives Matter protests
the commonplace and supernatural terrors a young Black man in Santa Fe with crowds that include passionate Black teenagers and
encounters while searching for his father in Jim Crow–era America, has been trying to watch out for them in the streets.
is wearing a black leather beret and a black T-shirt with the words Majors, who still addresses women as “Ma’am,” grew up between
phenomenally black on it; he is also snacking on pretzels and his mother’s apartment in Dallas and his grandparents’ farm in Riesel,
looking at me with an impish smile. Texas. His father and grandfather were both military veterans. He was
I’ve just told him that, after watching the first three episodes of a sensitive boy who liked to explore his grandfather’s expansive book
Lovecraft during the most meaningful racial uprising in recent memo- collection, watch scary things on TV like It and The Bone Collector
ry, I was moved both by his performance—the emotional core of the with his older sister and younger brother, and throw glass bottles and
show—and the inventive story, which begins as a lush period-piece have mud-pie fights on the farm. When he was not in church with
of social realism and morphs into something much more phantas- his family, he roamed his grandparents’ land, among their horses,
magorical, involving monsters and supernatural spells. Majors’s chickens, peacocks, and cattle. “I had so much joy as a boy: middle
character, Atticus, a Korean War child, lots of energy, big emotional life.
veteran and science-fiction fan I was a clown and still am,” Majors
(including the work of H. P. Love- tells me. But there were aspects of
craft), is forced to reckon with the his life in a deeply conservative, and
country’s racial trauma, and his
“As August Wilson wrote, ‘You often racist, place that were unset-
own, as he tries to make a life for got to take the crookeds with the tling. “There was always a fear that
himself. “An audience member ran through us,” Majors says. “The
cannot walk away without the
straights.’ The straight is love, first ghost I remember seeing was
realization that what was happen- familial bonds, legacy, protection, the Klan.” One summer when he was
ing then is happening now, as far a child, he saw a burning cross in a
as the systematic racism, the bru-
unity within a community” field near the farm; later that summer,
tality of Black bodies. But also, when his father arrived home late from
the heroism of the Black race, the work, he told him he had been afraid
dignity that dwells within the Black that “the hooded people got you.”
family—that is also happening now,” Majors says. “As August Majors sees other parts of himself in his Lovecraft character, who
Wilson wrote, ‘You got to take the crookeds with the straights.’ is seeking a father who has vanished. When the actor was eight,
You see the bad things that happen in Lovecraft, the monsters, the his own father left the family unit, an experience he describes as a
racism—that’s the crooked. The straight is love, familial bonds, “deep loss.” Afterward Majors got into fights and spent some time
legacy, protection, unity within a community.” in juvenile detention, but eventually decided he’d had enough of
Majors had relocated to Santa Fe—along with many of his posses- being “in the dark” and signed up for advanced-placement classes,
sions and his two dogs, a pit bull named Poet and a Great Pyrenees discovering acting when he played Mercutio in a high school pro-
named Magi—right before the pandemic to start work on a new film, duction of Romeo and Juliet. (“I wanted to play Romeo. But now, in
the Jay-Z-produced all-Black Western called The Harder They Fall, hindsight, Mercutio is definitely the G,” Majors says. “That was my
which also stars Idris Elba. When the production shut down and becoming moment.”) He attended the University of North Carolina
most of the crew left town, Majors opted to stay—he had moved out School of the Arts to study acting. “They took a kid who was pretty
of his apartment in Harlem, deciding to live on the road for a while, fucked up, all raw material, and made an artist out of him,” Majors
floating from set to set. (“I’m the only one here. It’s got some Last recalls. He then went on to the Yale School of Drama.
Black Man in San Francisco vibes,” he jokes, referring to the critically He got his first big role in When We Rise, an ABC miniseries about
acclaimed film about gentrification that first drew him attention.) the gay-rights movement. Then came The Last Black Man in San
During the lockdown, he has been getting up not long after four Francisco and Spike Lee’s Netflix film on Black Vietnam veterans,
in the morning to walk his dogs and then head to a park to work Da 5 Bloods, and, soon, The Harder They Fall. “Jonathan has a
out with artist friends with whom he has been “communing” during perfect combination of strength and innocence. He’s a powerful
his stay. He has been meditating, reading—James Baldwin, Albert force on-screen, a dream leading man,” J. J. Abrams, an executive
Camus—listening to the news, and Zoom-ing with family, including producer of Lovecraft, says. “But not just because he’s got incredible
his seven-year-old daughter, whom he’s nicknamed Elmo. He met presence—he has deep, emotional eyes.”
her mother in drama school, and his daughter was born when he “This quarantine has made us see what we’re made out of, physi-
cally, spiritually, emotionally, economically,” Majors says as he bites
into another pretzel. “But you have to continue to create and stay
PROFILE IN COURAGE open.” After finishing work in Santa Fe, he looks forward to even-
“This quarantine has made us see what we’re made out of, physically, tually returning to New York, a city Majors loves, where he has had
spiritually, emotionally, economically,” says Majors. “But you have
to continue to create and stay open.” Photograph by Shaniqwa Jarvis. street fights, park strolls, and brokenhearted nights. “I’m a drifter,”
Fashion Editor: Mobolaji Dawodu. Details, see In This Issue. he says. “I go where the wind blows.” —alexis okeowo
173
100 VOGUE VOICES
“There’s a totally NEW do as a designer today is to work on couture,

because it’s exceptional; it’s something that
you cannot massively produce. Conceptually
CHAPTER waiting for us when it

speaking, it’s something that fashion has
lost; something where you say, Wow—this
is amazing. The massiveness of this industry
has to be put under questioning. Maybe this
comes to materials. We’re already is a more important change than a new look
or a new silhouette.
seeing it in the labs: We’re Guram Gvasalia, Cofounder,

Vetements
I don’t like the word fashion. We do
LEAVING THE STONE AGE of meta-fashion; it’s about clothing. We speak
to younger customers who don’t want to
wear suits. It has a lot to do with the music
making things behind and industry—when you look at musicians, at
rappers, they’re not in suits. We need to be
honest that the product categories are chang-
MOVING ON to the NEXT ERA.” ing. Everyone wanted to have an It bag—we

had a retailer who sold a brand’s bags for
10 years but never once sold a piece of their
CYRILL GUTSCH, FOUNDER AND CEO, PARLEY FOR THE OCEANS clothing. Our It bag is a hoodie or a jersey
tee, and maybe that’s more relevant today.
Everyone is still trying to sell a kind of fan-
C O N T I N U E D F R O M PA G E 1 5 9 tasy, but we should not be selling fantasy—
that doesn’t need to translate into a track- experience that feeling that they’ve longed we should be selling reality. Every product
suit or leggings. The thing that has cheered for. We have a lot of clients who are saying, we do, we ask: Do we believe in it, and will
me up has been putting on a dress I have I’m having a dinner party, six people, and I someone wear it? There needs to be a feeling:
never had a chance to wear and making a need a new dress. And they’ll buy a beautiful Oh, wow! or What the fuck?! What bothers
cocktail to drink on my balcony. The future lace dress—but the shoe will be lower. The me the most is that luxury fashion stopped
doesn’t have to mean tracksuits. shift is going to be to incredibly luxurious thinking about luxury. The only brand that
items that aren’t ostentatious. People have I really look up to is Hermès; I want us to
Ikram Goldman, Retailer, Ikram to think fun. be the Hermès of streetwear. Hermès has a
What we do as a [fashion] industry is create Kelly bag; we have a hoodie.
beauty and magic. We tell a story that people Demna Gvasalia, Designer, Next year we are going to be launching
want to be a part of—and now we’re telling Balenciaga new brands with the Vetements group to
that story again and again, but it doesn’t Fashion has become so omnipresent, so help new talents find their voices. We’re also
sound fantastic anymore. It sounds like a all-available, that somehow it has become going to go into retail—not our own [mono-
broken record. We’re pushing things on them cheap. A pre-collection here, a collection brand] retail but multibrand retail. Physical
that they don’t necessarily need. Our women there, shows everywhere, capsules, drops: It’s stores are still important.
want more quality, less quantity—they would somehow become cannibalized by its own The industry is becoming old—in terms
much rather invest in an important piece that extensions. This slowdown forces us to start of vision, in terms of attitude. Fifteen years
they know they can wear. They never want thinking twice before we make things that from now, all the big conglomerates will not
to look at a pair of sweatpants again—it will nobody wants to buy that go on sale and pol- exist the way they currently do—they will be
remind them of a very hard time in Ameri- lute the planet. It’s not about going to a con- sold to Amazon or Google. You are seeing it
ca; of Trump and the coronavirus; of being ference and talking about sustainability—it’s with publishing: Instagram comes along, and
stuck at home. But they still want to feel about actually practicing it. There’s no other now TikTok. We have to be honest—with
comfortable—and look beautiful. way. Maybe certain things don’t have to be ourselves and with each other. Fashion will
People are going to invest in jewelry so available for everybody everywhere; may- keep up the noise to try to make it by faking
because they’re going to be seen in a way be we localize things and are less global with it, but the world has become much more
that they normally would not have been what we do. Having diversity in the product transparent, and faking it is not a good long-
seen—especially if you’re on Zoom calls. as well—that’s important. With most brands term strategy. The future of fashion will need
You’re going to see a lot of women taking today, you print a logo on a hoodie, and to be built on authenticity and honesty!
better care of their skin and their faces and there you go. We kind of got over it. It’s so
wearing makeup a lot more. You’re going to 2015. Fashion can’t be based on that—there Kenneth Ize, Designer
see a lot of really beautiful jackets and tops is so much more we can do. In order to move forward, we’re going to
and accessories and necklaces. We had to delay the relaunch of couture have to reevaluate what luxury means. For
There’s also going to be a lot of people at Balenciaga until January because you me, it’s also been a moment to invest in my
entertaining at home and dressing spec- cannot do couture fittings on a screen. But community because the weavers are at the
tacularly for that—this is their one shot to I think one of the most modern things I can heart of my business. V O G U E V O I C E S >1 7 6

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100 VOGUE VOICES
Now the local government is interested in We are always seeking beauty and things streets to talk about really important, crit-
helping revive the weaving industry in the that make us feel good. Sometimes that’s ical, life-changing movements that amplify
region of Nigeria where I work. I strongly flowers picked from our garden, and some- their voices and bring people together, we
believe that sustainability is the future—and times that’s a beautiful hand-knit sweater. I need to be part of those shifts.
that African fashion is the future. think today we must create things that tell a
story, that add meaning to people’s lives in Sherri McMullen, Retailer,
Michael Kors, Designer very special ways. Fashion still matters, but McMullen
I was in Chapter 11 in the early ’90s—we did how it matters changes as the times change. Black consumers have a $1.3 trillion buying
a small collection, and I had three models. Fashion is a voice of the times. It’s a voice of power, and we have to make sure that we
Ten days after 9/11, facing another econom- what we’re living through, of what’s happen- are represented in fashion and consumer
ic collapse, I presented an abbreviated col- ing at the moment. It’s a reflection of how products. Last year, I committed to making
lection. Without sounding like an old owl, we’re living and what our needs are at the 35 percent of my assortment and buy from
next year will be our 40th year in business— moment. Living right now, in the midst of a Black designers. We only made it to a little
and this [pandemic] will be the seminal global pandemic, the world is not frivolous. over 20 percent—some Black designers had
moment in my life and in many people’s So fashion must find a way to be more mean- to cut back throughout the design process, or
lives, from the people we know to our neigh- ingful, more purposeful, to add comfort and they didn’t produce their collections. I may
bors and the people we see on our street. beauty to our lives. see a designer one season and not see them
We’ve been talking a lot about “global,”
and now, for the first time, really, we really
see what that means—how much we really
are connected. I try to always be positive,
but how do we move forward?
“I want to make sure I am EMPOWERED by
It’s a moment of recalibration, aware-
ness, and appreciation. We are inundated fashion—and that my hotties feel empowered
with too many images, too much informa-
tion, too much product; the fashion calen- too. I WANT THEM TO SEE ME, a woman
dars don’t allow us to think and breathe and
appreciate things. The amount of work that
goes into producing a collection, all around
who is not the industry sample size, feeling
the world, is so huge, and when we spin out
collection after collection after collection, good and confident in my body and my style.”
the consumer simply doesn’t have a chance
to process what has arrived in the shops. MEGAN THEE STALLION, MUSICIAN
There is no logic in it at all. We need time to
absorb a new idea, a new thought.
People have been at home wearing hood-
ies and tees and track pants—now they are Stella McCartney, Designer the next season. I understand the complex-
craving to put something on that’s more Fashion has to bring people together. I’m ities we face when trying to grow a business
polished, glamorous. At the same time, I using this time to amplify what I stand for— with little access to capital and resources.
can’t see anyone wanting to wear a struc- to really answer the questions of why I do
tured dress with a lot of boning, or a five- what I do. For me, the functionality and Tyler Mitchell, Photographer
inch heel: It’s not that. How do we interpret the fantasy become one if you approach it We’re no longer having the conversation
comfort as we leave our homes and go back in that way. We are absolutely a social and about platitudes and respectability and sym-
to some kind of interactive life? cultural commentary. Fashion will become bolism, because a Black or brown model is a
more and more about expressing who you symbol. The percentage of Black and brown
Ralph Lauren, Designer are and about sharing your beliefs, morals, models you have on your runway to feel safe
Right now, people are thinking less about and codes through what you’re wearing. from being called out is a symbol. We were
fashion and more about the way they live. For our spring 2021 collection, we repur- speaking in symbols after Trump was elect-
They have been spending a lot of time in posed and upcycled old stock fabrics to cre- ed. People were shaken and confused—there
their homes—wherever they are—whether ate rare, limited-edition pieces while mini- was a sense that we had to take these half
alone or with their families. And during mizing our waste and use of raw materials. steps forward to feel okay. Now we’re mov-
this time—a time that has out of necessi- Our strategies are always pushing toward cir- ing toward a whole new conversation—one
ty slowed the pace of their lives—they’re cularity, reducing greenhouse gas emissions, in which I believe there should be a com-
seeking ways to live more simply and and being as climate-friendly as possible. plete takedown of the really weak stilts that
comfortably. They’re looking for products We have to change too, though. That’s this huge skyscraper was built on. We’ve
that do that—that add color, comfort, and something that the fashion industry has not got to take a deep look at the actual way in
individuality to their daily lives. They’re addressed quickly enough. We need to look which things function, the system on which
appreciating cooking and setting a table more to technology, more to cultural shifts things operate, and throw all that out of the
for their families, and taking more time and global actions—we need to be part of window and rebuild from the ground up—
to share stories and feelings, whether in those conversations in a really meaning- that’s what I’m really interested in doing
person or virtually. ful way. And when people are going to the and seeing. V O G U E V O I C E S >1 7 8

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“I think there’s a lot of WORK of a simple example like Dior introducing
sumptuousness again after austerity, using
so many meters of fabric after fabric had
that needs to be done [in fashion] in been rationed for so long—that might seem
like a superficial reaction to hardship, but
it provided something that people needed.
terms of being MORE This situation is going to be a lot differ-

ent. It’s not going to be about responding
to hardship with sumptuousness, because
INCLUSIVE, especially with Black we’ve been wallowing in sumptuousness for

a long time—that’s part of what got us in this
position. So if you’re thinking empirically,
designers. I’VE FELT LIKE AN people are going to have learned some kind
of lesson—and we’ll have to approach the
future with a lot more humility and care.
OUTSIDER. I still kind of feel like Miuccia Prada, Designer

Our job as fashion designers is to create
an outsider. IT’S AN ELITIST

beautiful, intelligent clothes for people.
In the collection we just presented [resort
2021], we focused on that idea: It is about
WORLD.” ANIFA MVUEMBA, DESIGNER, HANIFA

giving value to pieces. The clothes are
simple—but with the concept of simplicity
as an antidote to useless complication. This
is a moment that requires some seriousness,
a moment to think and to reflect on things:
Janet Mock,Writer, Director, Globes in 2019, I wore an Off-White gown What do we do? What is fashion for? What
Activist that made me feel like I was bringing so many are we here for? What can fashion contrib-
I believe in the power of beauty and fantasy, parts of myself into that esteemed room. I ute to a community?
but I want to indulge in a designer’s vision have also worn pieces by Carly Cushnie, one Fashion has become very popular, and
that doesn’t force me to leave my politics, of the few Black women designers, multiple with all the attention it gets, it bears more
my people, and my perspective at the door. times. It’s a whole other feeling to be armored responsibilities. I truly believe that it is a
Fashion should make people feel good, in clothes made by your people—you feel reflection of society, and therefore it reads
and a designer should be thrilled to have all you’re bringing them into the room with you. the moment—it can’t make a revolution
people—of all sizes, races, and genders— from within, but it can definitely be part
wearing their clothes. Oh—and I want to Kate and Laura Mulleavy, of it with its own tools. We [at Prada] have
walk into a store without a stuck-up sales- Designers and Directors, Rodarte always been very flexible and open-mind-
person tracking me as I browse. As an industry, we need to stop putting lim- ed in researching and understanding the
As a Black trans woman, I’ve fought and itations on people. What you need to do to complexity of the world we live in; we’ve
sacrificed to be comfortable in my own skin show a collection is what is intrinsically right been trying our best to open up as many
and to live unapologetically. The way I pre- for your creative process. That is when the conversations as possible, and we’ve tried to
sent myself to the world is integral to my emotion will carry through. [We] love a beau- maintain an honest, intellectual approach.
self-expression, my identity, and my surviv- tiful show, but that’s one format for doing it.
al. We cannot ignore the fact that trans and A fashion show can be really expensive, Natacha Ramsay-Levi,
gender-nonconforming people are so often and it’s not the only way to communicate Designer, Chloé
discarded, dismissed, and demeaned by our emotion—some of the greatest fashion I believe in reducing waste—both creative
culture because they push the boundaries moments in our lifetime are photographs, waste and material waste. A luxury product
and break the rules—all things that make portraits in a museum, film sketches. We takes time to make—especially if you want
us targets of violence—yet when cis folks in need to be open-minded about the platforms to do it more sustainably. [For September]
fashion co-opt our aesthetics, they are cel- because we also need new designers, new we are recycling ideas already in the house—
ebrated and compensated with everything talent; we want more voices. This is what taking things from our first season, working
from covers to campaigns. we’re all championing. with the elements we have at hand. Septem-
Many design houses and labels simply ber can’t be a revolution—we don’t know
refuse to dress me—and if they are unable Rick Owens, Designer yet in what world we will be living—but we
to see the value in a talent like myself wear- I have been thinking a lot about how fash- have to focus on new scheduling, new ways
ing their clothing, I do not see the value in ion has worked after other calamities and of working. If we don’t change the dates
their creations; I am not a person who can wars—I was thinking, Well, if everything of the shows, there will never be a solution.
separate the creations from the creator. Ulti- goes okay and we are able to continue doing Everybody has to get involved: As designers
mately, I wear creations from people who this work, how do we do it after this? and CEOs, we need to say it out loud.
share my values and principles and believe Our reaction will be a lot different than I still believe that fashion and luxury are
in me as a cultural force. For my first Golden it was following World War II. If you think relevant to the world of tomorrow. Of course

100 VOGUE VOICES
they’re not “useful,” but the beauty in things I have never been as optimistic as I am a case of, What can we do with these pieces
is sometimes to have things that are not “use- now—even if this movement of racial jus- that are more everyday, yet still have some
ful.” Artists have been very present in this tice has just become a press thing for a lot of evocative emotion to them?
time of COVID because of what they bring people, a Black Lives Matter hashtag. Their
to the world, and while you can live without IG pages are now full of all the Black people Christopher John Rogers,
art, you need that escapism. Fashion is the they’ve ever shot. I would rather you wait Designer
same: It’s artistic and creative, and if we lose and do something really meaningful with In order to see meaningful change, there
that message in chasing profits, in only con- the culture of your brand, your company. needs to be a complete reevaluation of why
suming, I’d rather buy vintage. I don’t need Wait for the smoke to clear and the dust to we make the work that we make, the voices
clothes that don’t carry any meaning. settle, and then pledge your allyship. that we listen to and give platforms to, and
[While my client] Zendaya and I have nur- the communities and the values that we cul-
Francesco Risso, Designer, tured smaller and independent brands, I, tivate. Do they align with the future, or are
Marni too, have sometimes been guilty of not sup- they stuck 20 years in the past? There has to
We have been focused lately not only on eco- porting enough brands owned by people of be a genuine interest in championing talent,
logical sustainability but also human sus- color—I have to be more conscious of the not just hype—an investment in authenticity
tainability. I’m thinking of the hands that story I tell in order to move that needle the rather than mere clout. My generation is
make the work—the incredible craft in the right way—to use my platform, my voice, composed of children of the internet, and our
atelier, and equally the people in the facto- and my quote-unquote power. world has become so much smaller because
ries making incredible things for us. I hope I got into this industry because I am a fan of that. We’re finding new, honest ways of
people will be less attracted to quick, trendy of the glamour, of the fantasy—that fash- connecting with each other, and creating
stuff and more attracted to the idea of the ion can transport you! And part of me— work that resonates with our specific commu-
hand, the love for the making. I don’t want that little Black boy from Chicago—wants nities instead of trying to appeal to everyone.
to just throw that away and move on because glamour back: more hair, more diamonds,
of trends. Trends don’t seem very cool at all. more bells and whistles! But the realist in Olivier Rousteing, Designer,
me is thinking: Is that tone-deaf ? More Balmain
Law Roach, Stylist brands need to be allowed in the room and How do you connect and communicate with
I won an award last year, and in my speech I on magazine covers: When Christopher the people who are wearing your clothes?
told the audience: You are persons of power John Rogers gets a cover, privilege and pow- It’s about togetherness; it’s fashion as
and privilege—I urge you to give an oppor- er are moving away for a minute. a social vision. Designers need to be the
tunity to someone who doesn’t look like you. face of their vision: If you have something
For the longest time it’s been the same group Simone Rocha, Designer to say, say it—and if you don’t, better to stay
of people who style the campaign, who do [During the lockdown] I was at home and silent. We need to be more real—don’t fake
the hair, who do the makeup, who make the started doing hand-embroideries, things I it. There will be a natural selection between
decisions. The world is a bigger place now, hadn’t done in years, but that’s my thera- brands that are just doing PR moves and
but social media has made it smaller—we are py, that’s my outlet—and that evolved into brands that stand for something. Fashion
in touch with cultures and people all around the collection I’m showing in September. won’t exist anymore if it is only fashion;
the world. It’s important, though, to realize The things we make now have to be more I’m looking to bring more elements into my
that fashion is not a representative sample relevant. There’s a need for escapism, too, world that have nothing to do with fashion—
of how the world looks and how it operates. as we are so rooted in reality—I have never art, entertainment. It’s more important than
And so, to anyone who has the privilege to wanted to be frivolous, but there still needs ever before to be thinking about Netflix,
make decisions: Take a beat and think how to be some fantasy. There is going to be Apple, Google, YouTube—my platform
you could change someone’s life. It’s not patchworking, but in humble, day materi- shouldn’t be limited.
really about talent—it’s about opportunity. als, whereas perhaps in the past it would Fashion should be making us think about
Black people have simply had less privilege have been brocades. We’re reworking lots how to do better. We are no longer in a time
than their white counterparts. We haven’t of stock fabrics to do something new. We’ve of being the trend of the season. I don’t want
had the same starting line. That’s a fact— always done cotton-poplin tops—they’ve to be cool—cool’s over. Chic’s over. You’re
with statistics and data to prove it. not necessarily been showpieces. But now it’s cool for two months these days; it used to
be two years. Who wants to be part of that?
Remo Ruffini, CEO, Moncler

“People want to EXPLORE BEAUTY in their Flexibility is going to be one of the most
important words—because, honestly, the
future is very difficult to read. Everything
everyday lives in the most comfortable must change—the vision, the strategy, and
way—but they also deserve to UNLEASH their

the outlook—and it must change tomorrow.
Energy is very important. When I think
about the main luxury streets now, with
IMAGINATION and LET IT FLY.” no visitors, I don’t think there is enough
emotion in the street. We need to attract
a new generation to the street to give it
PIERPAOLO PICCIOLI, DESIGNER, VALENTINO that energy. C O N T I N U E D O N PA G E 3 0 5
179
Fantastic Mr. Forquet
With a forthcoming book on the life and style of
Federico Forquet—revered couturier, admired decorator, and constant
gardener—Hamish Bowles plunges into la dolce vita.
I
n 2006 I was dispatched to Marrakech to document Ain Kas- Fondo Ambiente Italiano, the Italian national conservation trust.)
simou, the storied estate of the legendary tastemaker Marella On that first visit Federico mentioned that he was thinking about
Agnelli. The adventure was made all the more delightful by the a book of the aesthetic adventure of his life. I leaped at the oppor-
presence of one of Agnelli’s houseguests, her beloved friend tunity to work on it and, to my delight, was soon to discover that
Federico Forquet, who proved to be a very witty raconteur. “Senti,” Federico, now 89, has a singularly acute memory for every dress
he will whisper conspiratorially—“Listen”—and the stories begin. he’s ever designed and everyone he’s ever met. On-screen he dressed
I knew that Federico, a patrician Neapolitan, had been a couturier Hollywood and Cinecittà stars Sophia Loren, Gina Lollobrigida,
who apprenticed with Cristóbal Balenciaga in the 1950s before Monica Vitti, Ursula Andress, Faye Dunaway, and Jane Fonda,
establishing his eponymous couture house on Rome’s Via Condotti and his friends include a century of society, fashion, and culture
in 1961. I also knew that he was the owner stars—with colorful anecdotes to match
of a remarkable house and gardens of his each. Photographs of many of them line
own in the Tuscan countryside, to which the stairs up to his bedroom.
he graciously invited me. Because of our “I have a surprise for you!” an exultant
relentless mutual jet-setting, it took me Federico confided as I arrived late one
a decade to make a pilgrimage to Valle day at Cetona for a weekend of inter-
Pinciole (“the valley of the medlars”), views and photography. He suggested
Federico’s country house. that I go upstairs in the guesthouse to
In 1969 the property—then a dilapi- the muniments room. Federico had been
dated farmhouse set on stony terraced busy: What I discovered were dozens and
fields overlooking the powerfully beau- dozens of magazines everywhere one
tiful Renaissance landscape of Monte looked, covering the entire floor, every
Cetona—was discovered by Federico’s table, chair, and sofa, each opened on the
late partner, the press agent Matteo pages marked with Post-its of the relevant
Spinola, whose clients included Sophia coverage of Forquet creations. There were
Loren and Rudolf Nureyev. (The couple images of his work by such star photog-
met in 1958 at a masked ball and had a raphers as Irving Penn, Richard Avedon,
lively conversation all night: When the Henry Clarke, Helmut Newton, and David
beauteous Spinola finally removed his Bailey, shot on such beauties as Marisa
mask, “I was so surprised,” Federico con- Berenson, Donyale Luna, Veruschka, and
fided, “and so that same night started this the perennially stunning Allegra Carac-
friendship that went on for 45 years.”) A ciolo Agnelli, Federico’s great friend,
decade after they met, Federico was a neighbor, and sometime fashion muse.
successful couturier dressing the gratin Federico closed his fashion house in 1971,
of international society, from Babe Paley at the top of his game: He had designed
to Diana Vreeland to Princess Paola, the THE GREAT BEAUTY everything, including shoes, hats, and cos-
future queen of Belgium. He was less than A flowering 1970 Federico Forquet evening dress with fabric tume jewelry, but he had no interest in
enthralled by the idea of rural living: His by Bini. opposite: Forquet’s passion for English gardens ready-to-wear—which he could see was
chosen escapes at the time included a chic inspired the herbaceous borders in his Tuscan property. the future—and had always considered it
London apartment and a house on Capri. vulgar to license his name or even put it to
But soon after, he commissioned the landscape designer Russell Page a fragrance. Instead, he turned his talents to decorating, focusing on
to transform the terrace of his Roman apartment. The friendship fine Italian craftsmanship, from the wicker furniture of Bonacina to
between Forquet and Page nurtured Federico’s passion for gardens, the exquisite gilt-bronze objets d’art that he now creates with Claudio
© GU IDO TARON I/COU RTESY OF RIZZO LI
which finds its apotheosis at Valle Pinciole. and Roberto Franchi.
Today those rocky fields are a wonderland of green rooms, of On my first visit to see Federico in Rome, I arrived in the morning,
pergolas tumbling with roses, garden pavilions, and shady ref- and he whisked me up on a two-day, whistle-stop tour of his projects
uges to shelter from the Tuscan summers, all conceived with the in the city, from the airy penthouse of Marella Agnelli’s granddaugh-
painterly eye for proportion and seduction that defined Federico’s ter Ginevra Elkann and her young family to the Palazzo Torlonia,
fashion and informs his decorating: His rooms, whether imperially where the delightfully effervescent Donna Olimpia Torlonia, grand-
grand or farmhouse modest, up-to-the-minute or historicist, are daughter of Queen Ena of Spain, served lunch on the deep upper
all seductively inviting. Eventually the property would become, terrace that divides the staterooms from her private apartment—all
for Federico, “the reason for my life.” (It has now been given to of which were reimagined by Federico after F E D E R I C O F O R Q U E T>1 8 2

ONE VINE DAY
A foliage-shaded
gazebo in Forquet’s
garden, with its
commanding view of
the region surrounding
Monte Cetona.
AT THE ROOT OF IT
clockwise from top left: Artist Tommaso Spazzini Villa’s installation in
Forquet’s garden music room; a silk-gazar-and-leather-floret evening dress
circa 1963; the lemonary, a summer living room at Valle Pinciole with tables
from NOW on the Ocean; Forquet’s poetic planting for Ginevra Elkann.
a catastrophic fire in 1991. After two days running around Rome— were such treasures as Claudia Cardinale’s 1860s-style ball gown
much of it on foot—I was fit to drop, but the indefatigable Federico from Luchino Visconti’s The Leopard or Belle Époque dresses worn
was still going strong. The complicity between Federico and his by Silvana Mangano in Death in Venice: spine-tingling.
pan-generational clients was remarkable: They all loved him. Guido and I remain in awe of Federico’s inspirational joie de vivre
Photographer Guido Taroni and I later returned to photograph and boundless energy. Practically as the book was going to press,
several of these astonishing homes and many of Federico’s star he decided to consolidate his finest Neapolitan treasures in a room
fashions, the latter gathered from enduringly elegant Roman prin- created by knocking together his former dining and breakfast rooms.
cesses and Milanese cultural figures who had lovingly held on to He told me he recently accepted the invitation of Sylvain Bellenger,
them. Federico’s younger sister Giuliana had a mini Forquet fashion the director of the Museum and Royal Park of Capodimonte in
© GU IDO TARON I/COURTESY O F RIZZOLI
retrospective of her own, and the great collectors Enrico Quinto and Naples, to create a new setting for the museum’s extensive collec-
Paolo Tinarelli generously offered up pieces from their extensive tion of historic porcelain, a project that will take at least two years.
archive. Meanwhile, I found a Loie Fuller dress of swirling pleats on Despite the historic treasures that surround Federico, he doesn’t live
eBay: Federico recognized it as a design he had created for the leg- in the past: Last year he commissioned the young artist Tommaso
endary Italian singer Mina to wear in a television pasta commercial. Spazzini Villa to create an installation in the music pavilion in the
We photographed these masterworks in the damasked rooms of the garden. Hidden in Spazzini Villa’s pencil network of root systems
Palazzo Torlonia and in a studio of the fabled costumer Umberto are the words et in arcadia ego: “I too have lived in Arcadia.” @
Tirelli, who had been a great friend of Federico’s. At Tirelli’s studio
we shot the dresses surrounded by the ghostly forms of costumes The World of Federico Forquet: Italian Fashion, Interiors, Gardens
mounted on mannequins but shrouded in tissue paper—underneath (Rizzoli) is out this month.

To the Max
For its debut makeup line, the famously
minimalist Byredo upends expectations
with a wild, color-saturated collection.
PRO DUC ED BY LITTLE MOO N PRO DUCTIONS. ART DIRECTIO N BY LUCAS L EFL ER.
B
yredo’s Ben Gorham held his first stuck at home in East London, and Gor- bottles and candles have become signifiers
meetings with the trailblazing ham is working from Byredo’s studio in of stripped-back Scandinavian good taste.
makeup artist Isamaya Ffrench Stockholm. On a video call, Gorham points But Byredo Makeup turns out to be a far cry
as only very busy people would out the window to his nearby apartment from what most fans will have B Y R E D O >1 9 2
think to: sitting in traffic, stuck between and his daughter’s day care. “It’s the first
shows during Paris Fashion Week in 2017. time I’ve been in one place for this long in
Three years later, they’re putting the fin- 15 years,” he says. OUT OF THE BOX
ishing touches on the resulting collabora- Although Byredo’s inaugural makeup Model Mika Schneider in a Christopher
Kane dress and Chalayan headpiece. Makeup,
tion, Byredo Makeup, at a moment when line won’t be released until October, you
Isamaya Ffrench. Hair, Shiori Takahashi.
such hectic schedules have ground to a halt. may have a hunch about its aesthetics. The Photographed by Carlijn Jacobs. Fashion Editor:
When we speak in early June, Ffrench is cult brand’s pharmaceutical-chic fragrance Imruh Asha. Details, see In This Issue.

anticipated. Gorham is banging the drum industry. Under her watch at Dazed, Kylie proved it by agreeing to debut the collec-
for makeup as a creative, colorful free-for- Jenner was painted with AI-generated tion on social media with a CGI-generated
all. At the core of the first drop are 16 color makeup that made her face appear to be image created by the artist Jesse Kanda.
sticks in shades ranging from swampy green melting. “Here was a person who also spent Inspired by the pioneering visuals of Com-
to ’70s orange, which are intended for use a lot of time trying to not be defined by me des Garçons, whose ads rarely show the
anywhere and anyhow. There are also a liq- one thing,” Gorham remembers thinking. brand’s products, Ffrench wanted to create
uid liner, mascara, and lipstick in 15 shades, When I speak to Ffrench, she talks me a campaign in which “an image could rep-
all elevated by their sculptural packaging. through how she translated Gorham’s resent an emotion.”
The swooped red mascara tube wouldn’t vision into “really fucking good products” Along the way, the collaboration has
look out of place on the mantel of a 1980s in collaboration with a leading interna- developed into a friendship. During those
Memphis-style home. Now that Byredo’s tional cosmetics lab. “It’s fully vegan, and first snatched conversations in Paris, the
minimalism has been absorbed (read: copied) we blacklist lots of chemicals,” she says two found they had a love of sports in com-
by the mainstream, Gorham is betting on of the line, recalling many trips to the lab mon: Gorham played professional bas-
ultra-expressiveness as the future of beauty. to improve small but crucial details like ketball in Europe, and Ffrench was once
Gorham says one of the reasons he took wearability and gloss. The pigmentation a semi-competitive diver and dancer. For
his time getting into makeup was his dis- in each lipstick was also designed to com- Gorham, who says that he still sometimes
taste for the industry’s uniform vision of plement all skin tones, and unsurprisingly, feels like a “jock” despite his many years in
beauty. “It was almost sold as, like, Spanx. Byredo also paid particular attention to the beauty industry, this makes the bond
‘Do this and look like this,’ ” he explains. A creating subtle fragrances for every prod- all the more enduring. “We can talk about
former beauty director for Dazed and i-D, uct. Ffrench tells me she warned Gorham makeup, and then we can talk about these
Ffrench was known for her work with pros- that her interests lay as much in packaging electric dirt bikes that I want her to come
thetics and an obsession with decay that and image-making as in the products, but try,” he says. “I can’t imagine anybody bet-
put her at odds with a wellness-obsessed Gorham was on board with her vision and ter fit.”—harriet fitch little
T
wo years ago, when Valerie Grandury was taking a bath,
she had something of an aha moment: “I looked at all the
plastic bottles that were lining my tub and thought, Oh,
my God,” recalls the founder of the Los Angeles–based
skin-care line Odacité, who soon discovered that an estimated 552
million plastic shampoo bottles end up in landfills every year. “I
thought, There has to be a way to make a solid shampoo that gives
you the pleasure of your regular shampoo without the plastic and
toxic ingredients.” Last March, she finally achieved that vision
with the launch of her first hair-care offering, a palm-size vegan
shampoo bar made with coconut powder, cupuaçu butter, and no
added water—an environmentally conscious approach that creates
an ultra-concentrated, compact cleanser, which can last up to 80
washes. “Eliminating water is the most effective way to deliver a
great plastic-free shampoo without sacrificing convenience,” says
By Humankind cofounder Joshua Goodman, whose all-natural
cold-processed sticks arrive in a recycled-paper box alongside a
quick-drying shower dish to preserve their lifespan. “Your hair has
to get used to the solid format,” concedes the French colorist Chris-
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tophe Robin, whose own barre is enriched with hydrating aloe vera.
Block Party
But, he notes, after just a few washes one will appreciate the added
bonus of “more texture and hold.” “Everyone is always surprised
that they work so well,” agrees the Paris-based coiffeur Javier Pala-
cio, who custom-makes shampoo slabs out of his studio for those
With its minimalist design and small carbon in the know, such as the creative director Clarisse Demory. Plus, he
continues, the thick one-of-a-kind formulas, which can take on a
footprint, the humble shampoo bar is making myriad of rich colors thanks to their raw, plant-based ingredients,
a bid as hair care’s newest It item. “are also just really beautiful objects.”—zoe ruffner
SUDS UP
The solid format, available in a range of eye-candy colors and shapes,
can offer the equivalent of three plastic bottles’ worth of shampoo.

If you can
turn on an oven,
you can make
a cheesecake.
©2020 Kraft Foods

THE FRONTLINE
T
he city of Atlanta was an anx-
ious shell of its former self on the
June day that its mayor, Keisha
Lance Bottoms, was deciding
how aggressively to challenge Georgia’s
Republican governor, Brian Kemp. Kemp
had begun the reopening of the state in April,
weeks earlier than anywhere else in the coun-
try, and now, despite sleepy downtown streets
and half-full restaurants, the COVID-19
numbers were alarming: nearly 7,000 cases
and more than 300 deaths in Fulton County
alone, the highest rates in the state.
Bottoms was waiting to see how Kemp,
who opposes mask requirements, would
react to the mayor of Savannah, Van John-
son, who had signed an executive order
requiring face masks in public spaces. “Giv-
en the sensitivities of our relationship with
the governor’s office, I knew if we were the
first to jump out, there would be pushback,”
Bottoms told me. So far, the governor’s office
had been silent on Savannah. “As I predicted,
privately,” Bottoms said. “No response.”
We were talking in a conference room
in Atlanta’s City Hall—which was nearly
empty of employees—and Bottoms, wear-
ing a denim dress and a black-and-orange
face mask with the logo of her alma mater
Florida A&M University, had just finished
a cabinet meeting (with some members
joining in masks and others calling in). I
asked her about the national attention she’s
attracted, and specifically about her name’s
appearing on Joe Biden’s vice-presidential
short list. “It’s flattering to be part of the
conversation,” she said. “But we’ve got a lot
going on in this city. Enough to occupy your
every waking thought.”
During the meeting, Bottoms had joked
that she would have won the Peachtree Road
Race 10K, a Fourth of July Atlanta tradi- IN QUARANTINE
tion, had it not been canceled due to COVID. Mayor Bottoms
The mayor is an avid runner (or she was until and her son Lance
isolating at home,
a knee injury in 2017). Within days of our in an image captured
interview, Bottoms would test positive for remotely via Zoom
the coronavirus, after her husband, Der- on July 17. Tory
Burch shirt. Details,
ek, an executive with Home Depot, seemed see In This Issue.
more tired than usual; he and their oldest Fashion Editor:
son, Lance, 18, would also receive positive Kah Li Haslam.
tests. When I called Bottoms in July to find
out how she was doing, she told me that
she was mostly without symptoms, except
for an urge “to face-plant” into a nap every

MAYOR Keisha Lance Bottoms was already facing a perfect
storm in Atlanta—of police violence, social unrest,
and rising COVID-19 numbers—and then the
pandemic truly hit home. Alexis Okeowo reports. Photographed by Annie Leibovitz.
195
afternoon. “I don’t know if that’s COVID or remembered him being at home when she after they were unable to conceive), Bot-
just stress. But I’ve been riding with it,” she returned from school and making dinner toms felt a “restlessness” to try something
said, laughing. She was also still navigating for the family. She dreamed of singing and new. She was working part-time as a mag-
tensions with Kemp. The day she received dancing like him, and loved being the center istrate judge and decided to run for a tri-
her results, the governor declared a state of of attention. She would dress up and put on al-court seat. She lost that race, but while
emergency due to what he called “weeks of shows for her grandmother, “who laughed campaigning around southwest Atlanta,
dramatically increased violent crime and until she cried,” Bottoms recalled. she took notice of what she thought were
property destruction in the city of Atlan- She was eight when, one September after- troubling disparities. “It’s a tale of two
ta.” Kemp authorized up to 1,000 National noon, walking home from school restless cities,” she told me. “There are middle- to
Guard troops to be stationed outside state and hot in her new fall clothes, she was met upper-class areas, very pristine, and then
buildings. “I just wish the governor’s office by the sight of her father being led out of you’ve got other parts with high poverty
would be honest,” Bottoms said. “Say you’re their home in handcuffs by police. “That’s and unemployment rates. I wanted equity.”
here to protect your buildings; don’t say when everything changed,” Bottoms told me. After she won a seat on the Atlanta City
you’re here to protect the people of Atlanta, “That was the end of my family as I knew Council, Bottoms spent the next eight years
because you’re not. It’s an effort to deflect it.” Her dad assured her that everything was educating residents on community resourc-
from the COVID numbers and their failure going to be fine, but her mother, Sylvia, was es, improving infrastructure, and trying to
in containing this virus.” Bottoms issued a at the Internal Revenue Service, where she attract investment, though she admits there
citywide mask order and signaled that Atlan- worked as a clerk, and Bottoms was terrified. was a “lot of unfinished business” when
ta would roll back to the first phase of its She remembered the police ordering her to she left office. She describes her political
reopening—meaning residents would have sit on the sofa and stay there, and telling her maneuvers during these years as a series
to stay home except for essential trips. Kemp that they would know if she called anyone. of almost-divine accidents—“She leans on
immediately tweeted that Bottoms’s action Hours passed before her mother returned God for all of her major decisions,” says
was “nonbinding and legally her friend Vicki Palmer, who
unenforceable.” He then sued runs an Atlanta consulting
her and the Atlanta City Coun- group—but ambition was a
cil over the mask mandate and I asked Bottoms about appearing on Biden’s guiding force, too, especially
her rollback recommendations vice-presidential short list. “It’s flattering in her run for mayor. An alli-
(a lawsuit that Bottoms called, ance with the outgoing mayor,
along with other statements by to be part of the conversation,” she said. “But Kasim Reed, who was facing a
the governor, “simply bizarre”). we’ve got a lot going on in this city. Enough corruption scandal, helped her
“In my wildest dreams I didn’t win. She was the only Black
think we would be going back- to occupy your every waking thought” female candidate.
ward this soon,” Bottoms said. “I Bottoms thought of the day
thought, if anything, it would be her father was arrested when
in the fall with the predicted surge.” Metrics home. Her father was charged with cocaine she learned that Rayshard Brooks, a 27-year-
had driven her decision-making, she said, possession and would spend three years in old Atlanta resident, was fatally shot by a
and “business leaders and others were asking prison. Bottoms’s parents divorced, and Syl- police officer at a Wendy’s restaurant on a
for guidance because a lot of people believed via raised the children alone. night in mid-June. The officer, Garrett Rolfe,
that the reopening was too aggressive and Dance classes were now too expensive. has been arrested on charges that include fel-
reckless in the state.” She went on, “Peo- Instead Bottoms went roller-skating with ony murder; a second officer, Devin Brosnan,
ple are unemployed; their family members her cousin on the weekends and helped out was charged with aggravated assault and
are dying of COVID; people are angry at at her mother’s hair salon and her uncle’s violating his oath of office. “In his inter-
the injustices that they’re seeing around the package shop. “She had kind of a rough action with the officer, he talked about his
country—it’s an unfortunate perfect storm.” childhood, but she still finished at the top of daughter’s birthday; she’s eight,” Bottoms
B
her high school class,” says Andrew Young, said of Brooks. “My dad didn’t die when
ottoms’s first memories are of a former mayor of Atlanta and prominent I was eight, but I know what it was like to
England. She was born in Atlan- figure in the civil rights movement who suddenly have him removed from my life.”
ta—and her ancestors have been endorsed Bottoms in the 2017 mayoral race. The Brooks shooting further roiled an
rooted in Georgia since slavery— Bottoms studied journalism and African already angry city. Protests in Atlanta, part
but her mother and father moved her and American literature at Florida A&M, and of a national uprising against police violence,
her two older siblings to the U.K. when then law at Georgia State. For years, she had started only a few weeks before, following
Bottoms was two. They lived in Essex while worked a few times a week as a reporter for the killing of George Floyd in Minneapolis.
her father, the soul singer Major Lance, who one radio station and announced the morn- On the evening they began, Bottoms had been
had a string of hits in the 1960s, pursued ing news for another, all while practicing at her home, in southwest Atlanta, frying
his music career. He opened for the Beatles law. It was at Georgia State that she met her fish for dinner with the television on. “Pro-
and assembled a backup band that once husband, Derek. They have been married testers in this city are normally peaceful,”
included Elton John. When she was still a for 26 years—she tried her first mimosa with Bottoms said, but what she was seeing on
toddler, the family returned to Atlanta and, him and said he was equally to blame for any TV seemed like something else. “I’m like, this
after a time living comfortably, began to of her bad habits. isn’t looking like it’s going in the right direc-
struggle as her father tried to replicate his After the couple adopted their first son tion,” she said. “And it was happening very,
success abroad. He worked nights, but she (they would adopt all four of their children very quickly.” K E I S H A L A N C E B O T T O M S > 2 0 0

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She turned off the stove, changed clothes, police in my community.’ They both want those who can afford to live among those
and got down to the Atlanta Police Depart- our communities to be safe, and they want they are charged with protecting. She has
ment’s Joint Operations Center. Her son us to figure out how you get there.” announced that police will be required to
A
Lance had wanted to join the protests, but employ de-escalation techniques before
she persuaded him to go with her to the cen- tlanta has a mythic place in the using deadly force, and to intervene when
ter instead and “see what the other side of American imagination: a pros- other officers do not. But many argue that
this looks like.” She also called the rappers perous capital of Black striving only reduced contact with the police will
Killer Mike and T.I., Martin Luther King and success. “It’s not unusual ensure less abuse, and that resources should
Jr.’s daughter Bernice King, and Reverend in the city of Atlanta that your mayor is go to social services to support impover-
Joseph Beasley to join her, hoping they Black, your doctor is Black, your lawyer ished neighborhoods. At meetings of the
could appeal to the protesters. A press con- is Black, your dentist is Black, your judge Atlanta City Council before the budget
ference was hurriedly convened. “I don’t is Black. And there’s a lot of investment in approval, dozens of residents demanded
know what we’re gonna say,” she told her projecting that,” says Andra Gillespie, a cuts to the police budget and a reinvest-
communications staff. “But we gotta tell political analyst at Emory University. But ment in community-safety initiatives. The
them something because the city is burning.” poor and working-class residents have a city has not been responsive, says Jill Cart-
Her speech went viral. “Above everything dramatically different experience of Atlan- wright, an organizer with the social-justice
else, I am a mother. I am a mother to four ta: The city has the worst income gap in group Southerners on New Ground. “They
Black children in America, one of whom is the country, with a Brookings Institution are not listening to what people are actually
18 years old,” she began, her voice shaking. analysis finding 11.5 percent of Black demanding on the ground.”
She recounted how she had urged Lance not Atlantans unemployed, compared with “We were working at a pace that we
to protest in the streets because she could not 2.5 percent of whites (unemployment has thought we had the ability to work within.
protect him. She said she could not abide the since worsened). The largest homeless shel- But clearly it wasn’t fast enough,” Bottoms
“chaos” that was destroying said of her reform efforts. Her
Black-owned businesses. The task force on the police’s use-
mayor’s voice rose to nearly a of-force policies met for the
shout: Instead of rioting and Bottoms tested positive in July but was first time only a day or two
looting, protesters needed to mostly without symptoms, except for an urge before Brooks was killed. She
“go home” and vote. When said she is now working with
she finished, the mayor had “to face-plant” into a nap every afternoon. a new urgency: “How do we
no memory of what she said. “I don’t know if that’s COVID or just stress. move forward? Everything in
“I just remember being pissed America has changed. It will be
because we weren’t talking But I’ve been riding with it,” she said, laughing far better for our communities,
about George Floyd but about and for our police officers, if we
people burning up stuff.” She can make that shift together.”
remembered looking at Killer Mike and T.I., ter in the city closed in 2017 after most of The mayor’s moderate approach falls
who were both at a loss for words. “You had the City Council, including Bottoms, voted in line with the Democratic Party’s; while
a real Black-mama moment,” Lance would to support outgoing mayor Reed’s move to several progressive-run cities have pledged
tell her later. reclaim the building. cuts to police budgets and investment in
Within weeks, Bottoms appeared again Bottoms is caught, Gillespie says, between minority communities, Democrats in Con-
before the press with a different message. conservatives who argue that she is lax on gress remain oriented toward police tactics
It was at the end of a Fourth of July week- crime and progressives who say that she and behavior. Bottoms says she has faith in
end in which an eight-year-old girl named has not done enough to help poorer resi- Biden after working with him and his cam-
Secoriea Turner had been fatally shot by dents, like improving the underfunded paign around criminal-justice and afford-
an armed group near the Wendy’s where public-school system. Bottoms cut the city’s able-housing policies. “I felt like I knew his
Brooks was killed; a teenage suspect has corrections budget after she eliminated cash heart, and I knew it because it was never
since been arrested. “You can’t blame this bonds for some low-level offenders and lost on me that this was an older white man
on a police officer; you can’t say this is about refused to accept detainees of U.S. Immi- who was willing to stand beside and behind
criminal-justice reform,” Bottoms said. “We grations and Customs Enforcement at the a younger African American man,” she said.
are doing each other more harm than any Atlanta city jail—actions that have pleased “And as I got to know him, what I appreci-
police officer on this force.” This time, the progressives. Yet at a time when there are ated more than anything is that he listens.”
response to her speech was more divid- calls for policing reform around the coun- Amid the speculation around Biden’s run-
ed—with some incensed that she wasn’t try, the mayor still plans to follow through ning mate, most analysts view Bottoms as an
focusing on the poverty and systemic rac- on giving officers in Atlanta their highest unlikely pick. They expect Biden to choose
ism that contribute to crime, and others pay raise ever, and the City Council has someone with experience in a higher office—
empathizing with her frustration at the approved her proposed nearly $14 million which would leave Bottoms right where she
rise of violence in Atlanta. Bottoms said increase to the police department’s bud- is now: confronting the greatest crisis her
she is listening to both sides. “If I’m in a get. Bottoms told me officers are “working city has ever faced.
room with a group of folk who are saying, two and three jobs to make ends meet” and
‘Defund the police,’ ” Bottoms said, “I can “coming to work resentful, fatigued, and The mayor holds quarterly meetings with
walk right into another room with another constantly looking for other work.” The executives from major Atlanta companies,
group of folk who are saying, ‘I want more idea behind the raise, she said, is to recruit like Delta and C O N T I N U E D O N PA G E 3 0 7

AWAKEN [08:00 GMT] and UNWIND [20:00 GMT] are available at TUMI retail stores and TUMI.com
Local Heroes
Even as they gain purchase far
and wide, six small, independent brands
are sticking close to home.
Photographed by Daveed Baptiste.
Christopher John Rogers,

New York City
S
ince winning the CFDA/Vogue Fash-
ion Fund Award last year, Christo-
pher John Rogers has been on a roll.
The Baton Rouge–bred, New York–
based designer kicked off 2020 by putting
a new twist on old-world glamour. Filled
with classic silhouettes and the iridescent
fabrications that have become his trademark,
his Madame Grès–inspired fall collection
showcased the heights of his creativity. “We
poured all of our hearts into the work,” Rog-
ers says, “and it paid off.”
After a successful postseason trip to Paris,
where he introduced his work to a Europe-
an audience, Rogers was riding high until
the pandemic hit. Like many small-busi-
ness owners, he was forced to make major
changes amid the shutdowns. “Going from
an adrenaline rush to a halt in work,” he says,
“allowed us to reset and double down on our
values and how we operate as a company.”
Shifting from statement looks to heirloom
pieces meant pushing himself to create with
“intention and purpose”—and to elicit an
emotional response through subtle designs.
Already popular with red-carpet innova-
tors like Tessa Thompson and Tracee Ellis
Ross, Rogers should entice classicists too
with his 2020 perspective. “I’m so lucky
to be able to do what I love,” says Rog-
ers. “I want to make sure that it shows in
every stitch.” LO CA L H E R O E S >2 0 4
ROG E RS : DAV ID MO LLÉ
left: Model Iman Akinkunmi wears a

Christopher John Rogers jacket and
skirt; net-a-porter.com. above: Rogers.
SPONSORED BY HAMPDEN VOGUE.COM SEPTEMBER 2020 203

Local Heroes
Hanifa, Kensington, Maryland NST Studio, Miami

When most brands attempt to break the internet, they do so via a Made in the cultural melting pot that is modern-day Miami, NST’s
celebrity cameo or a buzzy limited-edition drop. Hanifa—Anifa charming accessories represent a multitude of people and places too.
Mvuemba’s eight-year-old contemporary label—relied on pure Natalia Solange Teran credits her Cuban, Mexican, Nicaraguan,
ingenuity. The 3D models used for its Pink Label Congo collection and French roots as a consistent source of creative inspiration,
took the virtual-fashion-show concept to new heights, much to the and she makes her Instagram-famous treasures with objects and
delight of Mvuemba’s net-native audience—including new fans materials from all around the world: vintage beads and silks from
like Beyoncé—who thrilled at the flowing gowns and the visuals China, gold from New Mexico, deadstock jacquards from anywhere
and online eclecticism that nodded to Mvuemba’s Congolese heri- and everywhere.
tage. The Maryland-based Mvuemba’s vision, though, extends far The audacious palette, of course, is an unmistakable nod to her
beyond the web. She’s already donating a percentage of the proceeds sunny hometown. “I’m told the line has a very vibrant Miami feel,”
MVUE MBA: COU RTESY O F H AN IFA; TE RAN: ZACH G ROSS.

from her logo-covered Colette T-shirts to fight illegal coltan min- Teran says. “I like to embrace the fact that I’m from here.” Known
ing in the DRC, and plans to use best for her pearl-and-cloisonné
more and more of her newfound earrings, which retail for around
visibility for the greater good. “The $100, Teran is branching out into
pandemic taught me that we have weightier pieces made with cus-
a real responsibility in how we pre- tom molds, like the studs she’s
sent things,” Mvuemba says. “It’s been wearing daily. Inspired by
how we help to make the world a her grandmother’s Mexican coins,
better place.” they’re aptly named the Heirloom
Coin earrings. L O C A L H E R O E S > 2 0 6
top: Model Toni Smith wears
a Hanifa dress, $179; hanifa.co.
Manolo Blahnik shoes. top: NST Studio bag, $258; nst-studio
left: Anifa Mvuemba. .com. right: Natalia Solange Teran.

Local Heroes
Orenda Tribe,
Albuquerque, New Mexico
Orenda Tribe, a label of upcycled vintage
pieces, is the brainchild of Amy Yeung, who
is Indigenous (Diné). Yeung launched the
brand in 2015 just before relocating from
Los Angeles to near Navajo Nation terri-
tory in New Mexico. Having worked with
fast-fashion brands, she wanted to set a
better example for her daughter, Lily, who
now models pieces for the site. “I wanted to
teach her to respect Mother Earth,” Yeung
says, “so I had to shift to something more
sustainable and authentic to who I was.”
The pieces—ranging from skirts to flight
Y EU NG : B RIAN BOWE N SMITH/AUGUST IMAG E ; NICH OLSON : Z AC H HILTY & Z ACK WHITFO RD/B FA.CO M
suits—are hand-dyed by Yeung herself. “I
see things in colors of rainbows,” she says.
“I find beautiful, old things that have amaz-
ing energy to them—they’ve already lived Kenneth Nicholson, is and where it can go,” Nicholson says.
a life.” Yeung’s store in Old Town Albu- Los Angeles “That is one of the foundational tenets
querque also sells an eclectic mix of jewelry of the brand. I’m simply offering some-
made by local Indigenous artists. “That’s After graduating from the Academy of Art thing new—and something created with
my job as a matriarch—to help the youth University in San Francisco and spend- intention.” LO CA L H E R O E S >2 0 8
in any way that I can.” ing time in the Navy, Kenneth Nicholson
launched his namesake brand in 2016
with a small capsule collection of mens-
wear designs meant, in his own words, to
“expand the perceived offerings for men”
by adding fanciful flourishes to traditional
menswear, subverting certain codes of mas-
culinity. Nicholson’s made-in-L.A. line now
includes vibrant womenswear as well, with
peplum tops, velvet trousers, and dramatic
ruffled collars on button-down shirts as
he continues to craft a smart, emotional
narrative around his heritage, his family,
top: Model Bentley Fofana wears
top: Mary Jane Garcia for
and his unwavering belief in hope. “Part a Kenneth Nicholson jacket ($925),
Orenda Tribe ring, $250; orendatribe.com. of the artist’s job is to interpret the times top ($175), and pants ($490);
above: Amy Yeung. in which they live to reflect where society kennethnicholson.us. above: Nicholson.

Local Heroes
Asata Maisé,
Wilmington, Delaware
“It’s been a long process to get to where I
am today,” says 27-year-old designer Asata
Maisé. Maisé, who learned to sew in her
teens and started to sell her upcycled gar-
ments online through Etsy, Depop, and In-
stagram DMs before launching her own site
last year, where her regular drops of patch-
work bucket hats, groovy bags, and artful
dresses now sell out in minutes. Everything
is still quite limited-edition since Maisé is
a true one-woman business—designing,
producing, photographing, and selling each
item herself. Through the combination of a
GoFundMe and the Black Creators Fund-
ing Initiative established by Halsey, Maisé
has secured her own studio and equip-
ment—though a bit of business expansion
doesn’t mean her garments are going to lose
any of their heart. “My proudest moments
have been completing two full collections
entirely by myself, from start to finish,” she
says. “Having autonomy over my business
practices and decisions is one of the greatest
benefits of running a small business.”
NIC K GIRTAIN
left: Asata Maisé bag, $200; asatamaise.com.

above: Maisé. In this story:
hair, Dileiny Cruz; fashion stylist, Jacques
Agbobly. Details, see In This Issue.

MICA ARGAÑARAZ
PHOTOGRAPHED BY JUERGEN TELLER
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In a 28-day study applying a 1% Pentavitin® formulation, skin remained hydrated for 72 hours.
†
Based on a 2003 report by the World Health Organization.
SEPHORA | PETERTHOMASROTH.COM | ULTA #WaterDrench
YOUR
VOICE
COUNTS
Scan to register to vote, or head to vote.gov
Please vote on November 3!
VOGUE AUSTRALIA
As both an artist and a Ngangkari—one of Australia’s traditional healers—Betty Muffler creates
pieces that are meant to restore. Here she dedicates a painting colored with a red ochre
pigment to her native Australia—a country ravaged by wildfires earlier in the year. The lacelike
brushstrokes evoke the cascade of water collected into tjukula tjuta (rock holes) when it rains.
Ngangkari Ngura (Healing Country), by Betty Muffler, 2020.
OPTIMISM ALL OVER

We are STRONGER TOGETHER. And so, for the first time in history, every
IMAG E COU RTESY TH E ARTIST AN D IWAN TJA ARTS
edition of Vogue has aligned on a theme of HOPE. How can we all—from Singapore
to Spain—CREATE A BETTER FUTURE from the trials and triumphs of
recent months? These images were selected by international editors of Vogue
to represent the hope they want to see in the world. Each image is distinct, but they all
share a belief in the potential for a BRIGHTER TOMORROW.
Continuing on page 250, a selection of Vogue’s Global Hope images. The complete portfolio can be seen on every Vogue digital site, including Vogue.com.

Shop Like the World
Depends On It.
If everybody bought one used item of clothing this year,
instead of buying new, it would save 449 million pounds
of waste.*
Do your part. Get yourself a pair of well-worn, highly
coveted, perfectly imperfect jeans.
Levi’s® SecondHand. Coming this fall.
Levi.com/Secondhand
*Source: ThredUp
Experience the video:
lorealparisusa
#WorthIt
“ You’re worth it.
Three words we have all heard at least a thousand times. Right?
You’re worth it. But do you really understand what that means?
It is a beautiful reminder to us all that we have worth.

You have reason and rarity. There is value in each and every one of us.
Including you. That is precious, and even on the days you might not feel it,
you never depreciate in value. Those words are there to remind you.
Even if the harshest words are the ones you say to yourself.
Do not doubt yourself, and this time, tell yourself: I’m worth it!
And I know you will always say it like you mean it.
I’m. Worth. It.
“
Because you are. And always will be. Got that?
-VIOLA D AVIS
CELEBRATING THE
ICONS OF TODAY
Those who care for us, lead us, and inspire
us to create a brighter tomorrow.
BRITISH VOGUE
This spring, Captain Sir Tom Moore, a 100-year-old British World War II
veteran, completed 100 laps around his Bedfordshire garden in the
hopes of raising £1,000 for the National Health Service. In total, his walks
raised more than £32 million and earned the captain a knighthood.
Photographed by Alasdair McLellan.
VOGUE SPAIN
“Did the waves pass yet?” reads the
note scrawled beneath this Coco Capitán
snapshot. The Seville-born artist, whose
medium ranges from film to photography
to painting (and sometimes to Gucci
accessories), explains the dichotomy of the
photo: She’s precariously positioned
above choppy waters, but on the horizon,
“you can see the calm sea—stillness
always comes after the storm.”
The Edge of the Sea, by Coco Capitán, 2020.
VOGUE CHINA
VOGUE In Circle, Beijing-born artist Wang
SINGAPORE Yong includes a sketch of a
In 1981, Singapore declared the traditional Chinese round-eaves
Vanda Miss Joaquim orchid tile—often engraved with hopeful
its national flower. Known for its messages—at the top of this work
year-round bloom, the flower of calligraphy. The tile’s shape
also serves as a symbol for Vogue also signifies Yong’s desire for
Singapore—which will relaunch a COVID-19 infection rate of zero.
this month. To commemorate Circle, by Wang Yong, 2020.
the occasion, the magazine
commissioned this 3D rendering
of the blossom.
Illustrated by Christina Worner.
VOGUE MÉXICO
Photographer Stefan Ruiz captures
a tranquil moment on Mexico’s
Lake Pátzcuaro, where fishermen
must coordinate to get the catch.
Fisherman at Dawn on Lake
Pátzcuaro, by Stefan Ruiz, 2018.

VOGUE POLAND
Students of the Jamsaheb Digvijay Singh Jadeja School in
Warsaw, founded in honor of the Maharaja of Nawanagar
(1933–48), who sheltered Polish refugees during World War II.
Activism runs strong in this group of pupils. first row, seated,
from left: Alija Magomadova, Marta Lipska, Tetiana Oprysko,
and Kandżu Skopiec. second row, standing, from left:
Paulina Walkiewicz, Marysia Jagodzińska, Maks Świrski,
Aleksandra Pawelczyk, Maciej Bisiorek, and Jagna Chrulska.
Photographed by Marcin Kempski.

VOGUE GERMANY
German-born scientist Dr. Marylyn
Addo has had a hand in the creation
of vaccines for Ebola and MERS—and
she’s currently working on a vaccine
for COVID-19. “I am deeply impressed
by how fast things can happen if
many of us act in concert,” she says.
Photographed by Kathrin Spirk.
VOGUE
TAIWAN
In Taiwan, the ritual of
tossing these curved
moon blocks, or
jiaobei, is known as
bwa bwei. A yes-or-no
question is asked,
and the jiaobei’s
landing position
reveals the answer.
This photograph
depicts the “yes”
placement—the
divine answer
and a yearned-for
sign of hope.
Photographed
by Zhong Lin.
VOGUE
INDIA
“It’s our natural instinct
to protect and nurture
and hope to leave a
better world for those
who come next. We owe
them this,” says Hashim
Badani. In the middle
of an intense lockdown,
the Mumbai-based
photographer headed to
his roof to capture the
silhouette of his nephew,
backlit by a shining
sun and veiled by a
turmeric-yellow sari.
Photographed
by Hashim Badani.
VOGUE ITALIA
This snapshot by Massimo Vitali was
taken at the long stretch of beach in
Tuscany’s Marina di Massa on Italy’s
Republic Day. Vitali’s images are
usually populated by sun-drenched
holiday crowds, but this photo
delivers a more poignant visual of
beachgoers enjoying the sun after
months of a harrowing lockdown.
Capannina Bianca June 2nd, 2020,
by Massimo Vitali.

Phil Logos, CEO,
and Matt Logos, Cynthia Leung, Gia Kuan,
operations manager, Fleet Native Agents founder Gia Kuan Consulting founder
Leah Huntsinger, David Morgan, Matt Holmes,

Atelier Q founder on-set medic stylist
IT TAKES AN
INDUSTRY
Giannie Couji,
Maryam Nassirzadeh, Ubikwist Honey,
creative director editor in chief nail technician
Celia Rowlson-Hall Ray-Ann Farris-Lavington, Betty Halbreich,

and Mia Lidofsky, HR director, Worldnet personal shopper, Bergdorf
filmmakers International Goodman
Vogue salutes the UNSUNG HEROES of the fashion world—from

patternmakers to magazine-store owners—dressed in fall’s STANDOUT LOOKS.
Photographed by Ethan James Green.
top row, from left: Phil and Matt Logos both wear Balenciaga. Cynthia Leung wears a Peter Do dress (nordstrom.com).
Gia Kuan wears a Kim Shui coat ($1,420; kimshui.net). Maryam Nassirzadeh wears an Hermès jacket and pants (hermes.com).
Giannie Couji wears an Alexander McQueen coat (alexandermcqueen.com). Honey wears a Loewe sweater ($1,950, loewe.com).
bottom row, from left: Leah Huntsinger wears an Etro dress (etro.com). David Morgan wears a Carhartt jacket and pants.
Matt Holmes wears a JW Anderson coat. Celia Rowlson-Hall wears a Miu Miu jacket ($2,270; miumiu.com). Mia Lidofsky
wears a Dries Van Noten coat ($1,980; ssense.com). Ray-Ann Farris-Lavington wears a Victor Glemaud dress ($695; glemaud.com).
Betty Halbreich wears a Libertine shirt ($900; bergdorfgoodman.com) and Max Mara pants ($895; bergdorfgoodman.com).
Fashion Editors: Jorden Bickham, Tonne Goodman, Alex Harrington, Gabriella Karefa-Johnson, and Camilla Nickerson.
Hannah
Stoudemire and
Ali Richmond,
Fashion for
All Foundation
cofounders
In 2016 Stoudemire and
Richmond launched their
organization, focused on
inclusivity in fashion, because,
as Stoudemire, the CEO,
explains, “I worked in the very
industry that was ignoring me
and my community.” Richmond,
the COO, adds, “The fashion
industry has had an epiphany
regarding racism in America—
that leaves me hopeful.”
Stoudemire wears a Celine by
Hedi Slimane bolero, dress,
and boots (celine.com).
Richmond wears Ralph Lauren.
Sumie
Yamashita,
senior designer
Yamashita finds total
fulfillment in the
realization of her ideas at
Michael Kors. “Seeing a
collection come alive,
with the model walking
on the runway wearing
the clothes you first
sketched with pencil—
it’s always magical.”
Yamashita wears a
Michael Kors Collection
dress and funnel hood
(michaelkors.com).
259
Wei-Li Wang,
creative producer
Though Wang’s company,
Hudson Hill Production, has
organized many Vogue
shoots, this was the first time
she was on the other side of
the camera. “It was great
to see everyone on set work
from a different perspective,”
she says. Wang wears a
Saint Laurent by Anthony
Vaccarello bodysuit ($1,390),
skirt ($2,390), belt,
and boots; ysl.com.
Candace Marie,
social-media
consultant
Marie, who recently
founded the workplace-
mentorship organization
Black in Corporate,
explains that “a major
goal is to create a
support system for Black
individuals who lack access
to mentors and generational
wealth.” Marie wears an
Asata Maisé coat ($2,200;
asatamaise.com), a
Coach shirt (coach.com),
and a Miu Miu skirt
($2,110; miumiu.com).
261
Jordie
Samerson,
store director
Samerson, who
oversees Lanvin’s
Madison Avenue store,
says she “was drawn
to the rich heritage and
story of the house’s
founder, Jeanne Lanvin.”
Samerson wears a
Lanvin coat (lanvin.com).
Su Jin, designer
“When I start my own
brand, I want to be a
champion of inclusivity,
sustainability, and
ethical practices,” says
Jin, a 2020 graduate
of the Fashion Institute of
Technology. Jin wears
a look of her own design.
Keith Scott,
director
of client
engagement
“It never ceases
to amaze me who
comes through
the door and
what friendships
ensue,” says Scott,
who has been at
Tom Ford since
2017. Scott wears
a Tom Ford suit.
Patricia Black,
creative director
“Perfection has never
felt that interesting
to me,” says Black, who
oversees the Albright
Fashion Library and also
acts—she can be seen
in the second season of
Pose. Black wears a
Rokh coat ($2,140;
rokh.net) and Salvatore
Ferragamo pants
($690; ferragamo.com).
262
Damon and Ivery
Henderson,
assistant managers
Twin brothers Damon and Ivery
also happen to share a place of
work: Nordstrom’s 57th Street
flagship store in Manhattan.
“My brother recruited me to
work there—he was having the
time of his life,” says Ivery, who
helps run the women’s shoe
department. “The best part of
my job is making our customers
feel good,” says Damon, who
handles service experience.
Both wear Alexander McQueen.
263
Kai Avent-deLeon,
Sincerely,
Tommy owner
As creative director of a
Brooklyn concept store
focusing on emerging
brands, Avent-deLeon hoped
“to create a space in my
native neighborhood that
showcased emerging brands
and allowed other creatives
to come hang out.” She
wears a Marni dress (marni
.com). Proenza Schouler
over-the-knee boots.
Aayushi Khowala,
director of illustration
“Our process is driven entirely by
handwork and hand illustration,”
says Khowala of her job at Bode.
“When I graduated from RISD,
I never expected I would be able
to continue to work so much with
my hands.” Khowala wears a
Bode jacket ($1,560) and scarf
(bodenewyork.com).
Saachi Nozaki,
store supervisor
“To be honest,” says
Nozaki of working at
Comme des Garçons in
Manhattan’s Chelsea,
“our clients are the best
Comme des Garçons
salespeople. To see how
they put our pieces
together is just amazing.”
Nozaki wears a Comme
des Garçons Comme
des Garçons jacket
($2,320) and skirt
($750; both at comme-
des-garcons.com).
Megan Bailey,
senior director of
client relations
“We are faced with
reimagining how to maintain
and build relationships
with clients when the world
has been upended by a
global pandemic,” says
Bailey of her role at Louis
Vuitton Americas. Bailey
wears a Louis Vuitton jacket
and pants (louisvuitton.com).
267
Rachel Rothenberg-
Saenz, Amy
Tiefermann, and
Alexandra Baylis,
Garment District for
Gowns cofounders
While furloughed due to the
pandemic, three former members
of the Oscar de la Renta design team
started a company manufacturing
PPE. “The viral image of the three
medical workers wearing trash
bags as ‘protection’ was a huge call
to action,” says Tiefermann. “Our
resulting [medical] gown stemmed
from a process not too dissimilar
to the normal steps we take to
develop ready-to-wear lines,” says
Rothenberg-Saenz. “To be able
to use this time to support both
health-care workers and the
Garment District in New York has
been an honor,” says Baylis.
All three wear the medical gown.
269
Dara Allen, model,
Vivian Lin, Christian Rodriguez, Marcus Cuffie, stylist, and
stylist, Chloé designer Cruz Valdez, photographer
Shamicka Williams, Jawara Wauchope, Brandice Daniel,

Latisha S. Chong, and Matt Benns, hairstylists Harlem’s Fashion Row founder
top row, from left: Vivian Lin

wears a Chloé dress ($1,850;
chloe.com). Christian Rodriguez
wears a look of his own design.
Dara Allen wears a Chanel dress
(chanel.com). Marcus Cuffie wears
a Marni T-shirt and Wales Bonner
pants. Cruz Valdez wears an
Eckhaus Latta skirt (eckhauslatta
.com). Mohammed Ahmed wears
a Gucci vest and shirt. Syed
Khalid Wasim wears a Dickies
shirt. Kenneth Ivey wears a jacket
and pants of his own design.
270
Mohammed Ahmed,
manager, and Syed Khalid Wasim, Kenneth Ivey,
sales executive, Casa Magazines designer
Narina Chan and Leanne Woodley, nail artists;

Annis Kamara, content creator; Anna Raytsina, brand manager; Suki Wong,
and Jin Soon Choi, founder; all of JINsoon chief creative design, Tory Burch
bottom row, from left:

Shamicka Williams wears a Wales
Bonner jacket (walesbonner.net).
Jawara Wauchope wears a
Burberry shirt. Latisha S. Chong
wears a Victor Glemaud dress
($595; glemaud.com). Matt
Benns wears a Heron Preston
jacket. Brandice Daniel wears a
LaQuan Smith jacket ($2,000;
laquansmith.com). Jin Soon Choi
wears a Gucci cardigan. Suki
Wong wears a Tory Burch caftan
($1,198; toryburch.com).
271
Ryne Larson,
associate designer,
and Danuta
Denuree, director
of production
“I searched through hundreds
of blues with the team for this
shade,” says Larson of the Marc
Jacobs look she both helped
create and wears here (dress,
$1,800; marcjacobs.com).
Her colleague Denuree had a
hand in the design: “I coordinated
the production and the making
of the samples.” Denuree also
wears Marc Jacobs (shirt
and pants; marcjacobs.com).
272
Kanako Takase,
makeup artist,
and Shingo
Shibata,
hairstylist
The couple met at beauty
school in Tokyo. “I liked
reading magazines as a
teenager, and one day I just
thought, Maybe I could do
this!” Takase explains. For
Shibata, the universality
of fashion attracted him:
“Language doesn’t matter;
where you come from
doesn’t matter.” Takase
wears a Tod’s coat (tods
.com) and Tom Ford pants
(tomford.com). Shibata
wears a Marni coat.
Lorna Williams,
patternmaker
“After over 30 years
dedicated to fashion, what
keeps me jazzed is
watching the efflorescence
of a new prodigy and their
ingenium. Marina Moscone
is that prodigy,” says
Williams of the designer
with whom she works.
Williams wears a Marina
Moscone shirt ($625;
marinamoscone.com).
Anja Tyson, sales
director,
and Matilda
“Our industry is a major
contributor to global plastic
waste, and it is beyond
urgent that we address the
role we play in the climate
crisis,” says Tyson, who
helps brands make better
decisions at TIPA—a
company manufacturing
biodegradable plastic
packaging. She’s pictured
here with her daughter,
Matilda; both wear Marine
Serre (marineserre.com).
Janine Heidt,
personal stylist
“I would like to see the
fashion industry move
boldly in the direction of
declaring, through their
actions, that the color
of a person’s skin is
not a fad, a thing of the
moment,” says Heidt, a
resource at Nordstrom’s
NYC flagship store. Heidt
wears a Simone Rocha
dress (nordstrom.com).
Maison Margiela shoes.
Nate Hinton,
The Hinton
Group founder
“Yearly strategy has gone
out of the window, says Hinton
of his PR firm. “Adaptation
to the current climate of the
world has forced us to
become more creative in
our approach.” Hinton
wears a Balenciaga coat.
278
Chadeese
Perriel, designer
A graduate of the
Fashion Institute
of Technology, Perriel
would like to see her
industry limit waste
through “fewer fashion
shows and advanced
technology like CLO
to create virtual
fashion.” Perriel wears
her own design
and Miu Miu shoes.
Aziza Rozi,
designer
“I would like to build a
network to teach
tailoring in marginalized
communities,” says
Rozi, a bespoke tailor
at Tapia Custom Tailors
and a designer of
her own label, New
Territory. Rozi wears a
suit of her own design.
Loro Piana turtleneck
($1,290; loropiana.com).
Ava Hariri-Kia,
stylist
She attends the University
of St. Andrews and
spearheads the DONT
WALK Charity Fashion
Show. “If a student like
me can produce a fashion
show to be 80 percent
sustainable, diverse, and
inclusive, companies have
it in their power to do so
as well.” Hariri-Kia wears a
Ralph Lauren Collection
dress (ralphlauren.com).
Marcs
Goldberg,
set designer
Three years ago,
Goldberg says,
“I had no conception
of what set design
meant within the
context of a fashion
image.” Goldberg
wears a Gap tank top
($20; gap.com).
Dior shorts (dior.com).
Zoe Schultz,
designer
“It is important we
normalize the same
clothes’ being worn
again instead of opting
for the next new
thing,” says Schultz,
a graduate of FIT.
Schultz wears her
own design. Proenza
Schouler sandals.
Alessandra Rotondi,
style adviser
“During the lockdown,” says
Rotondi, an employee at the
Saks Fifth Avenue flagship
in Manhattan, “I felt that my
role in the fashion industry
allowed me the privilege of
being creative in such bleak
circumstances.” Rotondi wears
a Givenchy dress and sandals
(saksfifthavenue.com).
Raisa Flowers,
makeup artist
“Everything doesn’t
need to be natural. I want
to see more of a boost—
let’s go crazy and fun
again,” says Flowers,
who wears an Issey
Miyake dress ($1,335;
isseymiyake.com).
282
Henrietta Gallina,
creative director,
and Grace
“I’d like to keep my focus
on shaping creative
strategies that fuel bottom-
up change,” says Gallina.
“Top-down change is rarely
proactive.” Gallina wears an
Alexander McQueen coat
(alexandermcqueen.com),
with daughter Grace wearing
a Gucci dress and shoes.
Menswear Editor: Michael
Philouze. In this story: hair,
Jimmy Paul; makeup,
Kanako. Produced by Alexis
Piqueras at AP Studio, Inc.
Details, see In This issue.
S ET DES IG N, JU LIA WAGNE R
S ET DES IG N BY ALIC E ANDREWS ; P RO DUC E D BY C LM.
SETTING SAIL
Model Jess Cole’s
Valentino Haute
Couture dress
DREAMING
(212-772-6969)—a
wonder of white silk
faille—sings with a
sense of renewal.
right: Gucci makes
OUT LOUD
summery sweetness
its modus operandi
Vogue spotlights a dozen dresses representing
(gucci.com). On this
spread: hair, Shiori
creativity and hope—from light and bright
Takahashi; makeup,
Celia Burton.
and full of frills to dramatic in their stark simplicity.
Fashion Editor:
Tonne Goodman.
Photographed by Nadine Ijewere

A NEW LEAF
In the thickets of Xilitla,
Mexico—a place known for
the English poet and art
patron Edward James’s
Surrealist sculpture
garden, Las Pozas—balletic
tiers of silk and leather
are the makings of these
buoyant frocks from Louis
Vuitton; louisvuitton.com.
Fashion Editor: Max Ortega.
Photographed by Dorian Ulises López Macías

THE HANG OF IT
For fall 2020, Miuccia
Prada leaned into what
she called certain “clichés
of femininity” (see: this
dark Prada shift’s curtain
of swishy fringe; at prada
.com) and made them
stand for strength, style,
and optimism. In the
glamorously beautiful,
she argued, there also
exists great power.
Botanical sculptures by
Flores Cosmos.
WATER CURE
With nods to 18th- and
19th-century Italian sculpture
and his own artistic past
(namely, his Fallen Angels
collection of spring 1986),
John Galliano wrapped
models in filmy layers of
stretch tulle and jersey,
evoking some captivating
combination of marble
voilage and drenched fabric.
Maison Margiela Artisanal
designed by John Galliano
dress; (212) 989-7612.
Fashion Editor:
Camilla Nickerson.
PRO DUC ED BY W ILLIAM GALUS HA; S ET DESIG N BY JU LIA WAGNE R;

PH OTO GRAPH ED AT S ILVE R PO IN T B EAC H CLUB.
288
MAKING WAVES
From Dolce & Gabbana
Alta Moda, this
enchanting creation—
a vision of fabric
flowers, satin ribbons,
and great lengths
of gorgeous tulle
(dolcegabbana.com)—
was inspired by
Botticelli’s The Birth of
Venus. What could be
more hopeful, after all,
than being born anew?
Photographed by Stefan Ruiz

A TALL ORDER
Rather recalling a stalk of wheat, one fantastically exotic
Noir Kei Ninomiya dress (doverstreetmarket.com) catches the sun—and
reaches into another world entirely. Saint Laurent by Anthony Vaccarello
latex dress (worn underneath) and boots; ysl.com. Vex Clothing gloves.
Fashion Editor: Gabriella Karefa-Johnson.
Photographed by Luis Alberto Rodriguez

I’LL FLY AWAY
Oh, glory! Constructed
from panels of jet-black
silk, a capelike caftan
from Richard Quinn
(richardquinn.london)
offers one extravagantly
joyful answer to dressing
for day. Alexander
McQueen boots.
PRO DUC ED BY BE RLIN W ESTE ND
291
TAKE A BOUGH
With a swoon-worthy
strapless dress, Ralph
Lauren Collection
(ralphlauren.com)
finds a delicate balance
between the formal and
the utterly fantastical.
Fashion Editor:
Carlos Nazario.
ON THE WING
Touched with a vintage
savoir faire—note that
fetching little collar!—
a custom dress by
Christopher John Rogers
(christopherjohnrogers
.com) is one part silk (that
is, silk taffeta, silk
wool, and silk organza),
one part magic. The
butterflies, we should
note, come separately.
S ET DES IG N BY E RIC MAC K
Photographed by Elliot Jerome Brown Jr.

JUST AROUND THE BEND
Set up on the Seine,
model Zhedy Nuentsa is
resplendent in a billowing
wool-and-silk-satin
blouse and skirt from
Loewe (loewe.com).
“Dressing to impress—
I think that’s an exciting
thing,” creative director
Jonathan Anderson
said at his fall show, and
this sinuous silhouette
more than makes the case.
Fashion Editor:
Phyllis Posnick.
Photographed by Durimel
A NEW HORIZON
Model Djoly Gueye dons
an alluring invention for
evening, also from Loewe:
With its bustle-like skirt,
the cotton-and-silk dress
(loewe.com) both evokes
a distant past and looks
ahead to something
daringly different. On this
spread: hair and makeup,
Laura Dansou. Details,
see In This Issue.
PRO DUC ED BY KITTE N PRODUCTION
295
The Custom
of the Country
SHOW OF HANDS
Amid a quick catch-up over cards, models Alek Wek, Akon Changkou, and
Toni Smith opt for strong patterns and pure pops of color. from left: Wek wears
a Dior jacket and skirt; dior.com. Changkou wears a Saint Laurent by
Anthony Vaccarello blouse, $1,650; ysl.com. Smith wears a Victoria Beckham
sweater, $750; victoriabeckham.com. Givenchy skirt, $1,555; givenchy.com.
Fashion Editor: Carlos Nazario.
Who needs an occasion? A medley
of jaunty jackets, printed blouses, and
prim skirts blurs the line between
day-to-day and pulling out all the stops.
Photographed by John Edmonds.
SOFT FOCUS
Subtly sized up, a trio of candy-colored coats lends
the season’s outerwear a refreshing lightness. Changkou
wears a Marc Jacobs jacket and skirt. Wek wears a
Marc Jacobs coat and dress ($1,900). Smith wears
a Marc Jacobs coat. All at marcjacobs.com.
CHECKS MIX
Even with their nods to tweedy menswear staples, a dashing
skirt suit and gridded overcoat both feel far from square.
Changkou wears a Michael Kors Collection jacket ($2,290)
and skirt ($1,250); michaelkors.com. Celine by Hedi
Slimane blouse ($1,700) and loafers; celine.com. Smith
wears a JW Anderson coat, $1,790; jwanderson.com.
298
LET THERE BE LIGHT
The perfect white dress, replete with
gossamer detailing, is best accessorized
very simply; in this case, with a similarly
perfect pair of hoops and a boldly
beautiful eye. Tory Burch dress, $798;
toryburch.com. Mounser earrings.
299
SPLENDOR IN THE GRASS
A hazy, lazy afternoon is brought gently up to
speed by an exciting clash of plaids and
stripes. On Smith: Max Mara sweater, $745;
maxmara.com. Miu Miu skirt; miumiu.com.
On Changkou: Miu Miu jacket ($2,110) and
dress; miumiu.com. Both wear Marni sneakers.
300
WATER SIGNS
Changkou clearly takes her fun very
seriously, pairing a boxy Alberta Ferretti
blazer ($1,825; saksfifthavenue.com)
with her breezy Maison Margiela dress
(maisonmargiela.com). Marc Jacobs shoes.
301
OFF THE GRID
from left: Three styles of argyle take a chic (and shapely)
form on knits from Chloé and Lanvin. On Wek: Chloé
sweater, $1,595; chloe.com. Dior skirt ($2,400) and shoes;
dior.com. On Smith: Chloé dress; chloe.com. Brother
Vellies shoes. On Changkou: Lanvin vest, turtleneck ($1,150),
and skirt; lanvin.com. Dior shoes.
302
PRO DUC ED BY ALE XIS PIQU E RAS AT AP STU DIO, INC., S ET D ESIG N , G E RA RD SAN TOS.
EVERYTHING IS ILLUMINATED
Hard, soft, or somewhere sweetly in-between—
no one does power dressing quite like Miuccia
Prada. On Wek: Prada coat, shirt ($920), and tie;
prada.com. David Yurman earring. On Smith:
Prada top; prada.com. In this story: hair, Jawara;
makeup, Fara Homidi. Details, see In This Issue.
303
THE GOOD FIGHT James’s imperfect relationship with her artist have this Black-owned luxury product made
CONTINUED FROM PAGE 165 mother, Randa—who is both the loving teacher by indigenous Black artists on the African
Brother Vellies store reads, even freedom who introduced her daughter to fashion and the continent,” says Welteroth. “And to know that
craves touch. The words feel prophetic. A person who forced James to stand on her own by buying into this brand you’re also investing
serial monogamist who went from living with two feet when her mother moved cross-country in a micro-economy that is going to enable
roommates and boyfriends to sharing space with a new boyfriend when James was 17—has Black women to provide for their families and
with her then-partner, stylist Browne Andrews, shaped her life. “I watched her lose everything— become economically independent—it speaks
James recently found herself alone for the first including her sense of self—while we were in to a new idea of what luxury is.”
time in a decade. “I’ve missed touch and inter- Jamaica, but I also watched her rebuild,” says James’s inspiration to create the 15 Percent
action,” she says, “but I’ve been single now for James of this difficult period in her mother’s Pledge came in the wake of a series of personal
a year, and I know that I wouldn’t have been life. “It’s fascinating what women are expected letdowns. “I’d been focusing a lot on reflecting
able to do everything I’ve done if I were in my to—and willing to—give up when they fall in on my life—my relationships with friends and
previous relationships. You have to ask your- love. So often we short ourselves on our great- partners; anyone who has hurt my spirit,” she
self: Is it worth it? We spend so much time being ness because we think it’s dependent on other says. Our recent spate of police brutality and
bummed about partners, but my best partners people’s ability to love us.” public-health emergencies also served as cata-
have consistently been my friends.” James’s early understanding of the world lysts. “When I started digging into that, specifi-
It’s hard to imagine the sorts of girl bosses came almost entirely through fashion. “Every- cally after the killing of George Floyd, I felt this
previously held up as millennial success stories where my mother and I went,” she says, “any- deep sense of disappointment in my soul,” James
being so candid about their personal lives, but thing she put on her body had a story. She explains. “And it felt familiar because many of
James’s radical honesty and questioning of the would explain why clogs originated in Holland, the disappointments I’ve experienced in the past
traditional markers of success are taking center and the types of wood they used to make them. happened because I was too nervous, too shy, or
stage just as the old archetypes are starting to She’d visit Inuit communities and show me too insecure to ask for what I needed.”
feel stale. Her core concerns: racial injustice, their entire tanning process, all the byproduct Pushed to move beyond those fears, James
sustainability, financial equality, and preserving materials, and tell me how they used them to drafted a mission statement in an hour and
artisanal practices. “We celebrate this idea of create those shoes.” Along the way, “I fell in took her thoughts to Instagram—in part to
getting $100 million in venture capital, but if love with fashion as an art form that can speak hold herself accountable for real-world action.
we think that grants us happiness or freedom, about people, time, and culture.” “I saw all these people and companies saying
we’re in the wrong system,” says James. That spirit is evident in the artisanal crafts- how they stood with me and supported Black
While being an independent designer offers manship of Brother Vellies, which James Lives Matter,” she says. “I was reading it but
her the freedom to embark on outside projects founded in 2013 as a means of preserving not feeling it—there was an emotional discon-
such as the Pledge without having to answer to centuries-old techniques. “In 2011, I started nect. I processed it in two ways: first as a Black
anyone, James’s race and gender can still place traveling across different countries in Africa, woman and then as a businessperson.” Then
her in a box. The financial barriers are obvious— seeking out traditional artifacts still being the idea hit her: By taking the percentage of
African Americans and women are less likely to made,” says James. “And I started getting dis- Black people in America and correlating it to
be approved for business bank loans and lines of traught because I soon realized that so much a target number that retailers could hit, she
credit—but the ingrained stereotypes that persist had been wiped out.” In Africa, about 40 per- felt the ask was concrete enough to appeal to
in an industry that prides itself on acceptance are cent of apparel manufacturing has died out retailers. “A lot of people, when they’re starting
equally frustrating. “As Black women, we are cel- due to used-clothing imports. The experience movements, they’ll do focus groups and think
ebrated for being objectified,” James says. “That’s prompted James to explore ways of uplifting tanks, but this was just my ask as a business-
the space fashion allows us to exist in—you get to communities without erasing their heritage. woman—and I wanted to put it out while these
be a Beyoncé or maybe a Serena Williams. How “When the British came to South Africa and retailers were busy telling me all these things
many times have you heard the phrase ‘millennial saw the shoes they made—the veldskoene, that just didn’t resonate with me as a human.”
Oprah’? Is that the goal? Because I would just like or vellies, a rawhide design originated by the James’s post on May 29 immediately went
to be the millennial me.” nation’s Khoisan people—they took those viral and resulted in an outpouring of inter-
Canadian on her mother’s side and Gha- ideas and founded Clarks,” she says. “When est. For her industry peers, the announcement
naian on her father’s, James was raised in a I went, there were a few workshops still mak- wasn’t surprising. “Aurora has always been a
multiracial household in Guelph, just outside ing them, and they were at risk, so I started person who is solution-oriented,” says designer
Toronto. “The first time I heard the N-word, it working with them on new colors and shapes. Prabal Gurung, who has been friends with
was from my grandmother—the woman I loved Brother Vellies was born out of that.” James since 2015. “She never compromises
most on the planet,” she says. “Understanding With workshops in South Africa, Ethiopia, on values or ethics, and she practices what she
how people get these ideas about the world, and Kenya, and Morocco, the brand provides a life- preaches in everything that she does.” So yes,
who they perceive as threats to their existence, line for regional handcrafts. When James won designers understood—but multinational cor-
was critical for me.” When she, her mother, and the 2015 CFDA/Vogue Fashion Fund award, porations were another story. “Since that day,
her stepfather moved to Ocho Rios, Jamaica, it aligned with a retail sea change that saw con- it’s been back-to-back Zooms in 30-minute
when she was seven, life on the island opened sumers suddenly as interested in the backsto- increments trying to convince these large cor-
her eyes to a vastly wider and more colorful ries of the brands they bought as they were in porations to do the right thing,” says James.
dynamic. The relocation, which occurred after their fashion. “Aurora was way ahead of the “For some of them, it’s just about building
her maternal grandmother visited the island curve on that front,” says designer Brandon out the strategy to make sure that they reach
and fell in love with its relaxed vibe, would help Maxwell, a longtime friend. “People want to 15 percent. Others just want to ride out this
form much of James’s outlook. “My mother know what the values are of the brand they’re situation, make a donation, and wait. It’s so
delved into the culture with me,” she says, “and spending on, and Aurora lives those. Women much easier to do that. Some companies do
we learned everything—from the clichés like don’t just want the product—they want to be not want to be accountable to Black people or
marijuana and its origins, what it means to like her, and that is a very special combination.” feel like they’re at the mercy of Black women,”
people, to Jamaica’s religions and history, and The pan-Africanism of James’s vision also she says. “They don’t want to be in a situation
how it was all interconnected.” shines through. “[It’s] the idea that you can where they have to answer tough questions.”

Not too long ago, that sentiment could be Antwaun Sargent, Art Critic is passion. Come on—who doesn’t miss the
applied to the majority of the industry. Dis- and Writer McQueen, the Galliano shows of the ’90s?
cussions about race, privilege, and power have Fashion is in a moment of introspection as I’m doing a show of 100 looks for women and
always been fraught, but the disparity between we radically reimagine what we mean by lux- men; John’s shows were like 23 passages—but
the experiences of creators of color and their ury, high fashion, high art. Because part of they were impeccable. I think there is a space
white counterparts was glaring. “To this day, I the old definitions of fashion was about it for that again: less, but quality. Fashion shows
don’t have a business credit card,” James says. being exclusive—and about excluding certain are a dream. We shouldn’t stop them, but we
For longtime activist Bethann Hardison, populations who have been making work. It’s need to make everyone part of them, not only
James’s strength lies in her ability to lead by not about giving up standards or giving up the elite. The word elite is going to look very
example. “When you’re doing something that on certain ideas of fashion. They can and old. Nobody’s elite anymore. We cannot be.
no one has done before, the only person you should live, but they should be experienced We’re all the same.
can look to is you,” says Hardison. “We’re all now through different people’s eyes—people
learning about Aurora as she’s trying to make who have been overlooked in the process of Anthony Vaccarello, Designer,
sense of life during a pandemic. How do you making contemporary fashion. I’m hopeful Saint Laurent
create, how do you thrive as a businessperson because the talent is there. The people who We lost two months [because of COVID-19],
with people relying on you? She’s been able to never thought they would get their work but I’d rather take the time to really get [the
come up with solutions—not just for herself looked at are the people we should be look- new collection] right. Even now that we are
but for her entire community—and her plan is ing to in this moment to help us reimagine back at the studio, everything takes more time.
sensible, smart, and a good chess move during our definitions of things like beauty and taste I always thought it was obscene to show more
a moment when everyone is open to change.” and desire. just to sell more, anyway—it dilutes the vision
The Pledge’s future depends on the cooper- of a brand. Who is genius enough to design
ation of many, but it has already yielded big Marine Serre, Designer so many collections—to make them all really
wins. LVMH’s luxury beauty brand Sephora My thoughts now are of action: Let’s stop good? It takes six months to create a collec-
was the first to sign on, followed by West Elm. talking and make change. And let’s be trans- tion from start to finish—that’s the time that’s
“It’s going to take a while,” James says, “but parent with ourselves. The fashion world can needed, that’s how I’ve worked ever since being
as we continue to announce companies sign- be a distraction—the things that it wants you at Saint Laurent, and there has never been a
ing up, it will put more pressure on those that to do, the things it has always done—but there problem. I am lucky—I have never felt pres-
haven’t.” More than merely changing what has to be a resistance. Maybe you will lose sure. Time is the ultimate luxury.
they stock, James wants retailers to examine money; maybe you’ll have less success—but I want there to be a show—not in Septem-
their entire approach. “Initially it’s about shelf you will feel happy with what you do. ber, but I do want a show. A show for me—
space, but we want people to audit all areas We’ve been making things out of old pull- whether you do something digitally or some-
of their companies—their C-suite, entry-lev- overs. The creativity is simple: You use what thing live—is always about emotion, and for
el positions, freelancers, models, marketing, you find. Last season we had carpets, and this that reason, the show isn’t dead.
collaborators. Take a look, and then figure out coming season we are looking at working with
why there aren’t any Black voices.” something similar. You choose from this…gar- Dries Van Noten, Designer
The level of confidence and commitment bage…and then you make it for everyday and I certainly didn’t imagine that at 62 I’d have
required to essentially take on the corporate you make it beautiful. It is a kind of archae- to try to reinvent how fashion is going to be
world on your own terms is something James ology of what exists. Fashion—maybe even made, sold, worn—all those things. But no
wishes she could have summoned in the ear- more so now—is not just about a garment. complaints: We are strong; we survive. My cre-
ly days of Brother Vellies. Armed with just Actually, it was never just about a garment. It ative team, who are a lot of young people, are
$3,500 of her own cash and a spot at the Hes- is the physical continuity of a thought—who super excited about it—they embrace change.
ter Street Fair, she had to navigate fashion is making it, where are you making it, what is The next two fashion shows are going to be
alone, learning her business from the ground it made of ? It is even more important that we digital. With a live show, you have to apply the
up—and on the fly. “I’ve had to make some become more radical than we have these last rules of social distancing, and with all the hair
incredibly tough choices, and I’ve realized few months. We have one life: Enjoy it, and and makeup, you need a backstage that is 10
that sometimes the easiest choice is the worst live with a more collective spirit. times bigger than the front. It’s impossible. But
in the long run,” she says, referring to some we are really storytellers—along with showing
spectacularly bad advice she’d fallen prey to Riccardo Tisci, Designer, Burberry the tactile aspect of the collection, we love to
early on. “A very influential person told me I’ve designed a new collection all by myself— tell a story with our fashion show.
that I should shutter my website because ‘lux- it’s a lot of evening and a lot of easy-to-wear We are also making the collections small-
ury doesn’t sell online.’ Now it’s the backbone clothes: one point of view with two very dif- er, working in a more sustainable way. It’s
of our brand. You have to learn what works ferent ways to wear it. Of course, I was on exciting—it doesn’t feel like a punishment or
for you.” @ FaceTime with my team all the time, but it was a restriction. When you see the way that we
very nice to put together something that really worked before—sometimes, not always—I
VOGUE VOICES comes from my gut, without any interference. mean, what were we thinking? Why did we
CONTINUED FROM PAGE 179 Sometimes when you’re in a big company you make all this? I think the clients are also going
I’m sad about the wholesale business. When have so many meetings, so many people, so to look at collections in a different way—
we started our own retail, we knew it was the many things to do that you can only dedicate they’ll want to know why certain garments
future—going to Colette, to Bergdorf, to Bar- a very small amount of time to creativity. What are more expensive or more special.
neys was an incredible experience. But Jeffrey I need are things that are special and that have We’ll have to see—after a season when
closed. Barneys closed. That’s why I have been value—not only in clothing but in lifestyle and nearly everybody was wearing an easy sweat-
trying to build a lot of different projects with love and friendship and everything. I think we pant and a hoodie—what the needs are for
different designers—to bring some of that all need less, but better quality, better content. the next season. Do people want to forget a
excitement of the wholesale approach into our A lot of things recently in fashion have little? When you compare the time we are in
stores. We have to push that even more now. just been a fight for power. What I feel for now, with Boris Johnson and Donald Trump
305
and everything that’s happening, I think escap- an even bigger role in the months to come. fashion history—I treasure the memory of
ism stays important. People will still want to People need to be engaged in a different way. every moment. However, I would not have felt
wear easy garments, but I think they will still They want the brands to give them some- comfortable in such settings, with my name in
want to dream and desire, and to go to another thing more than just a hoodie or a dress. This big letters up there. My approach to work has
world of beauty. is a moment when our values—the values always been rather simple and pragmatic, but
that I have been so vocal about for so many more than ever, I feel my designs must resonate
Donatella Versace, Designer years—need to find a concrete way into the with realness—and even though I know it will
What I feel—looking at the news and the shopping experience because people will be different, I am confident it will still be good.
images from all over the world, but also from hold us accountable for our actions. These
my own personal experience—is that people are challenging times, but I have never been Anok Yai, Model
are tired of bullshit, excuse my language. The afraid of change. It will be a bumpy road, It used to be that racism was the elephant in the
time of endless talking is finished; now we but we will get to the end of it transformed room. Now people are saying and seeing things
must all walk the walk. It is not enough to say for the better. for what they are—they’re demanding change.
that I support LGBTQ+ rights, or to use a Models aren’t holding back when it comes to
hashtag as a marketing tool. People want to Virginie Viard, Designer, Chanel speaking up, and I think that those who aren’t
see the facts; they ask us what we are doing My daily life and the life of the compa- willing to change are going to be left behind. I
concretely to support the movements or causes ny are paced by the various collections we see models speaking up against brands, whether
we associate ourselves with. Fashion can play create each year, and while I’ve valued the in terms of racism or mistreatment, and it feels
a strong role in that, but it must come with an opportunity to work on these different cre- like there is a snowball effect under way—that
authentic and transparent approach and not ative expressions, I am also glad to face a the whole industry is coming together to change
simply use these initiatives to sell goods. moment where we do things differently. The things.
No one can force people to shop. The crisis was an opportunity for me to do small- That said, issues of racism and inclusivity
only way I see to get people interested—and er collections and envisage more intimate have been brought up so many times before,
possibly to continue buying Versace—is to shows, which is something more in sync with with only very small changes happening as a
create something that makes them stop and my sensibility. The Chanel shows with Karl result. Now that the whole world is talking
say, “Wow, I want it!” Creativity will play were magical, and they have contributed to about this, though, I’m hopeful—but I’m
In This Issue
THE FRONTLINE MAYOR Rowlson-Hall: Miu Miu skirt $1,790; saksfifthavenue.com.
194–195: On Bottoms: Shirt, ($1,200) and belt ($320); On Baylis: Oscar de la Renta
$398; toryburch.com. miumiu.com. On Lidofsky: Dries sweater, $790; oscardelarenta
Van Noten hoodie, $440; ssense .com. 270–271: On Lin: Chloé belt,
LOCAL HEROES .com. 258: Bolero ($2,750), dress $590; celine.com. On Allen:
203: Jacket and skirt, priced upon ($4,550), and boots ($1,850). Dress, $3,750; (800) 550-0005.
Table of contents: 57: Dress, price marcjacobsbeauty.com. On request. 204: On Smith: Shoes, On Richmond: Jacket ($4,995), Marc Jacobs headscarf, $295;
upon request; alexandermcqueen Abioro: Hoop earrings, $4,200; $695; manoloblahnik.com. turtleneck ($1,095), and marcjacobs.com. Manolo Blahnik
.com. 76: Coat, $2,200; prasiofficial.com. Hourglass pants ($895); ralphlauren.com. shoes, $645; manoloblahnik.com.
asatamaise.com. Shirt, price upon Unlocked Instant Extensions IT TAKES AN INDUSTRY Gucci shoes, $750; gucci.com. On Cuffie: T-shirt, $350; marni
request; coach.com. Skirt, $2,110; Mascara, $29; hourglasscosmetics 256–257: On Phil: Jacket 259: Dress ($2,990) and .com. Pants and belt, priced upon
miumiu.com. Cover look: 76: In .com. On Scott: Dress, $3,980; ($1,450), pants ($950), and funnel hood ($490). 260: Belt request; walesbonner.net. On
artwork by Kerry James Marshall: bottegaveneta.com. 18K gold cap ($350); balenciaga.com. ($625) and boots ($1,995). Valdez: Skirt, price upon request.
Dress; off---white.com. In portrait vermeil-and-tiger’s-eye earrings, On Matt: T-shirt ($1,090) and 261: Shirt, price upon request. On Ahmed: Vest ($845) and shirt
of Aurora James by Jordan Casteel: $465; khiry.com. Armani shorts ($850); balenciaga.com. 262: On Samerson: Coat, ($790); gucci.com. On Khalid:
Dress; $7,500; pyermoss.com. Beauty Eyes to Kill Quattro On Leung: Oversized sleeves $4,650. Amato New York gloves, Shirt, $23; dickies.com. On Ivey:
Shoe, $795; brothervellies.com. Eyeshadow in 6 Incognito, $62; ($590), sleeveless dress $231; amatonewyork.com. Prabal Gurung boots, price upon
Editor’s letter: 86: On Gallina: giorgioarmanibeauty-usa.com. ($2,600), and pants ($1,375). On Jin: Alexander McQueen request; prabalgurung.com.
Alexander McQueen coat (price On McMillan: Coat and dress, Panconesi earrings, $492; similar choker ($1,590) and ear-hook On Williams: Jacket, price upon
upon request), earrings (price priced upon request. Pat McGrath styles at ssense.com. Panconesi X set, worn as rings ($890); request; walesbonner.net. Victor
upon request), and harness Labs EYEdols Eye Shadow in GMBH bracelet. On Kuan: Dior alexandermcqueen.com. On Black: Glemaud dress, $375; shopbop
($890); alexandermcqueen.com. Burnished Honey, $25; shirtdress, price upon request; Marni sneakers, $890; marni.com. .com. David Yurman earrings,
Birkenstock sandals, $100; patmcgrath.com. 152:YSL Beauty (800) 929-DIOR. Bottega Veneta On Scott: Suit, shirt, tie, pocket $7,100; davidyurman.com.
birkenstock.com. On Grace: Gucci Sequin Crush Mono Eyeshadow knit dress, $3,000; bottegaveneta square, and shoes; priced upon Carolina Bucci necklace, $14,160;
dress and shoes, priced upon in 2 Empowered Silver, $30; .com. Mounser earrings, $225; request; tomford.com. carolinabucci.com. On Wauchope:
request; gucci.com. Calzedonia yslbeautyus.com. 153: Coat, mounser.com. Jil Sander by Lucie 263: Damon: Coat (price upon Shirt, $620; burberry.com. John
socks, $6; calzedonia.com. $3,780. 18K-gold-and-tsavorite and Luke Meier boots, $1,190; request), shirt ($970), and pants Elliott sweater, $448; johnelliott
necklace, $2,900; twistonline.com. jilsander.com. On Nassirzadeh: ($830); Nordstrom stores. On .com. Carhartt pants, $60;
PROTECTIVE MEASURES MAC Cosmetics Chromagraphic Jacket and pants, priced upon Ivery: Jacket ($3,090), shirt, carhartt.com. On Chong: Dress,
148: Dress, price upon request. Pencil in Basic Red, $18; request. Maryam Nassir Zadeh ($970), and pants ($830). On $595; shopbop.com. Cartier
18K-gold hoops with smoky-topaz maccosmetics.com. In this story: ring. On Couji: Coat and belt, both: Harness and shoes. All at earrings, $4,000; cartier.com.
charms, $6,400; ninarunsdorf Tailor: Zunyda Watson at Stitched. priced upon request. Miu Miu Nordstrom stores. 264: Dress, On Benns: Jacket, $1,369;
.com. Huda Beauty Matte & Metal shoes, $850; miumiu.com. price upon request. Panconesi heronpreston.com. Gap T-shirt,
Melted Shadows in Limelight & THE GOOD FIGHT On Honey: Dior necklace, worn earring, on left, $348; ssense.com. $20; gap.com. Heron Preston
Gold Chains, $25; hudabeauty 164: Tailor, Thao. as a belt, price upon request; Patou earring, on right, $480; pants, $725; heronpreston.com.
.com. 149:Turtleneck; (212) (800) 929-DIOR. Miu Miu shoes, patou.com. Boots, $975; On Daniel: Wolford dress, $215;
249-6552. Hijab, $20; hautehijab SIGNS OF THE TIMES $850; miumiu.com. On (212) 420-7300. 265: Scarf: $395. wolford.com. Christian Louboutin
.com. Gold vermeil hoop earrings, 166: Titanium military tag with Huntsinger: Dress ($2,740) and Prounis earrings, $850–$3,750; shoes, $775; christianlouboutin
$480; agmesnyc.com. Necklace, ruby stone, $6,500. belt ($810). Celine by Hedi prounisjewelry.com. 266: Comme .com. On Woodley: David Yurman
$6,500; available starting Slimane boots, $1,850; celine Si socks, $26; commesi.com. earrings, $1,600; davidyurman
November at (800) 843-3269. IN HIS SOLITUDE .com. On Morgan: Jacket ($90) Comme des Garçons Comme des .com. On Choi: Cardigan;
L’Oréal Paris Infallible Crushed 172: Tailor, Ksenia Golub. and pants ($50); carhartt.com. Garçons Dr. Martens shoes, $410; net-a-porter.com. On Wong:
Foils Metallic Eye Shadow in Gilded Telfar shirt, $1,130; shop.telfar.net. (212) 604-9200. 267: Jacket and Pomellato earrings, $7,200;
Gold, $10; lorealparisusa.com. TO THE MAX On Holmes: Coat, $1,990; pants, priced upon request. pomellato.com. 272–273: On
150: On Daniels: Lapis-and-14K- 190: Dress, $3,860; jwanderson.com. Loewe hat, 268–269: On Rothenberg-Saenz: Larson: Gloves (price upon
gold earrings, $475; christopherkane.com. $550; loewe.com. Bottega Veneta Celine by Hedi Slimane dress, request), headscarf ($450), and
bondeyejewelry.com. Marc Jacobs Headpiece; chalayan.com. Tailor: bag ($2,800) and boots ($650); $2,800; similar styles at celine stole ($750). On Denuree: Shirt
Beauty Brow Wow Duo, $39; Della George. bottegaveneta.com. On .com. On Tiefermann: Monse dress, and pants, priced upon request.

nervous. If this doesn’t change the industry, and decided to proceed with what she thought test and push my predecessor. But we just get it
then I don’t know what will. @ best. “She’s the kind of sweet lady that can tell done—that’s what I see with my sister mayors.”
you to go to hell and make you look forward In her days of quarantine, when Bottoms
THE FRONTLINE MAYOR to the trip,” Young says. “She and a number is not “constantly scrolling news,” she likes
CONTINUED FROM PAGE 200 of mayors are following the scientists at the to cook and read—and is currently finishing
Home Depot, and the presidents of Georgia local level because it’s absolutely essential that Texas evangelical leader T. D. Jakes’s Instinct
Tech, Spelman, and other local colleges. At somebody take the leadership.” and The Vanishing Half, by Brit Bennett. The
the meeting in early March, an infectious- Bottoms is one of several Black Southern lockdown has made her realize how much she
disease expert from Emory University told mayors—like Randall Woodfin in Birming- missed spending time with her kids. On our call
the group that the city had 48 to 72 hours to ham, Alabama, and Chokwe Antar Lumum- in July, after her positive test, she reported that
shut down before the spread of coronavirus ba in Jackson, Mississippi—who have risen she was at home with Derek and Lance (her
became as bad as Italy’s. “We were shook,” in prominence as they deal with coronavirus other children, who were staying at their grand-
Bottoms recalled. By the next day, she’d closed outbreaks that are disproportionately affect- mother’s place and a neighbor’s house, had
City Hall and then soon suspended utility ing Black and brown residents of their cit- visited her by coming as far as the driveway) and
disconnections for Atlanta residents, started ies. Many are mandating protective policies, that Derek was feeling well enough to check the
hazard pay for frontline workers, and put into sometimes in defiance of their states’ white mail. “I’ve been calling him Bro Van Winkle,”
place food assistance and a small-business conservative leadership. Bottoms is also one Bottoms joked. “He sleeps all day long.” As the
fund. Meanwhile, Governor Kemp had start- of an unprecedented national group of Black pandemic goes on, Bottoms said, a priority for
ed a task force—and there was no direction female mayors that includes London Breed her will be creating more affordable housing in
from the federal government. “I was like, if in San Francisco, Lori Lightfoot in Chicago, Atlanta. “This discussion about race and equi-
they help us, that’d be wonderful; that’d be our and Muriel Bowser in Washington, D.C.—all ty—the great thing is that everyone is talking
gravy,” Bottoms said. “If they don’t, we’ll be of whom have become notable voices on the about it and is really interested in a meaningful
able to see about ourselves.” protests, though all differ in their outlook on way,” she said. “To the extent that I have any
She quickly began skipping weekly calls reform. “I’ve never been so aware of sexism anxiety, it is about how long are we gonna have
between mayors and President Trump, which in my life,” she told me. “You’re tested and this interest and this captive audience? We don’t
she found to be little more than propaganda, pushed at every turn in ways that people didn’t have that much time.” @
274: On Takase: Coat, $13,725. 281: Dress ($10,680) and upon request; alexandermcqueen Sophie Buhai earrings, $595; prada.com. 310: Dior bag, price
Marni dress, worn as a top, $3,650; sandals ($950). Yandy gloves, $10; .com. 292: Dress, price upon sophiebuhai.com. Retrouvai upon request; (800) 929-DIOR.
marni.com. Pants, $3,250. Gucci yandy.com. Adrienne Landau request. 293: Dress, price upon ring, $1,255; retrouvai.com. Louis Vuitton bag, $3,050;
shoes, price upon request; gucci by Saulo Villela marabou boa, request. Sophie Buhai earring; 298: On Changkou: Loafers, louisvuitton.com. 311: Tote, $5,145;
.com. On Shibata: Coat, price upon $795; adriennelandau.com. sophiebuhai.com. 294: Blouse $850. 299: Earrings, $225; (877) 70-DGUSA. 312: Balenciaga
request; marni.com. Versace denim 282: Panconesi earrings, price upon ($3,150) and skirt ($7,850). mounser.com. 300: On Smith: bag, $2,490; (212) 328-1671.
jacket, $2,395; versace.com. request; net-a-porter.com. 283: On 295: Dress, $4,600. Sophie Buhai Skirt, $2,950. Sneakers, price Saint Laurent by Anthony
JNCO pants. 276: On Tyson: Dress Gallina: Alexander McQueen coat earring; sophiebuhai.com. upon request; marni.com. On Vaccarello bag, $2,390; ysl.com.
(price upon request), top ($340), (price upon request), earrings Changkou: Dress, $2,850. Marni bag, $4,290; marni.com.
tights ($150), and shoes ($835). (price upon request), and harness THE CUSTOM Sneakers, $990; marni.com. Asata Maisé bag, $400;
On Matilda: Dress and shoes, ($890); alexandermcqueen.com. OF THE COUNTRY 301: Dress, $3,395. Luv AJ asatamaise.com. Ralph Lauren
priced upon request. Calzedonia On Grace: Gucci dress and shoes, 296: On Wek: Jacket and skirt, earrings, $70; luvaj.com. Shoes, Collection bag, $2,750;
tights, $10; calzedonia.com. priced upon request; gucci.com. priced upon request; (800) price upon request; marcjacobs ralphlauren.com. 313: 1 Moncler
277: Dress ($2,995) and bag Calzedonia socks, $6; calzedonia 929-DIOR. Saint Laurent by .com. 302: On Wek: Skirt and JW Anderson bag, $1,240;
(price upon request). Bag at .com. In this story: Tailors: Hailey Anthony Vaccarello blouse, $1,390; shoes (price upon request); moncler.com. Celine by Hedi
THAN THE AUTHORIZED STORE, THE BUYER TAKES A RISK AND SHOULD USE CAUTION WHEN DOING SO.
simonerocha.com. Shoes, $1,085; Desjardins at Stitched, Zunyda ysl.com. David Yurman earrings, (800) 929-DIOR. Pamela Love Slimane bags, $2,950 each; celine
maisonmargiela.com. 278: Coat Watson at Stitched, Deborah $3,200; davidyurman.com. On signet ring, $180; pamelalove .com. Tory Burch tote, $528;
ME NTIO NE D IN ITS PAG ES, W E CANN OT GUARANTEE TH E AUTHE N TIC ITY O F ME RC HANDISE SO LD
BY DISCOUN TE RS. AS IS ALWAYS THE CAS E IN PURC HAS IN G AN ITE M FROM A NY W HE RE OT H ER
($4,350), turtleneck ($550), and Rogers at Stitched, Dynasty Ogun Changkou: Lizzie Fortunato .com. On Smith: Dress, $3,095. toryburch.com. Kenneth Ize &
A WOR D ABOUT D ISCOUN TERS WH ILE VOGUE TH OROUGH LY RES EARC HES THE COM PAN IES
jeans ($950); balenciaga.com. at Stitched, Cha Cha Zutic. earrings, $95; lizziefortunato.com. Shoes, $425; brothervellies.com. Sagan Vienna tote, $1,538;
G.H. Bass & Co. shoes, $110; On Smith: Alberta Ferretti blouse, On Changkou: Vest (price upon sagan-vienna.com. Coach tote,
ghbass.com. 279: On Rozi: Marni DREAMING OUT LOUD $795; bloomingdales.com. request) and skirt ($2,750). price upon request; coach.com.
sneakers, $750; marni.com. On 284: Dress, price upon request. Mounser earrings, $225; Shoes, price upon request; 314: Hermès silk kit bag accessory
Perriel: Shoes, $850; miumiu.com. 285: Dress, price upon request. mounser.com. 297: On Changkou: (800) 929-DIOR. 303: On Wek: ($910) and scarf ($830); hermes
On Hariri-Kia: Dress, $2,890; 286: Silk tiered dress and leather Jacket (price upon request), Coat ($3,700), skirt ($1,830), .com. Givenchy bag ($2,450),
ralphlauren.com. Gucci gloves dress, underneath, priced upon bra (worn under jacket, $595), and tie ($215). Earrings, $3,200; scarf ($520), and leather wrap
($430), socks ($180), and shoes request. 287: Dress, $3,100. and skirt (price upon request). davidyurman.com. Pamela Love bracelet ($490); givenchy.com.
(price upon request); gucci.com. 288: Dresses, layered, priced upon Laura Lombardi earrings, $124; signet ring, $180; pamelalove 315: Bucket bag: $2,495;
On Goldberg: Shorts, price upon request. 289: Dress, price upon lauralombardi.com. On Wek: Coat, .com. On Smith: Top, $2,550. balmain.com. 316: Shoulder bag
request; (800) 929-DIOR. Marc request. 290: Wire woven dress, price upon request. David Yurman In this story: Tailor: Thao. ($1,350), bucket bag ($640), and
Jacobs shoes, price upon request; $10,870. Latex dress ($6,190) and earrings, $3,200; davidyurman metal bottle (price upon request);
marcjacobs.com. 280: Calzedonia boots ($1,995). Gloves, $65; .com. On Smith: Coat, price upon LAST LOOK maxmara.com.
tights, $6; calzedonia.com. vexclothing.com. 291: Caftan dress, request. Proenza Schouler skirt, 308: Bag, $6,500; fendi.com.
Sandals, $745; (212) 420-7300. price upon request. Boots, price $1,190; (212) 420-7300. 309: Bag, price upon request; ALL PRICES APPROXIMATE
VOGUE IS A REGISTERED TRADEMARK OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2020 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 210, NO. 9. VOGUE (ISSN 0042-8000) is published
monthly (except for a combined June/July issue) by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: 1 World Trade Center, New York, NY 10007. Roger Lynch, Chief Executive Officer; Pamela Drucker
Mann, Global Chief Revenue Officer & President, U.S. Revenue; Mike Goss, Chief Financial Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian
Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS (see DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to VOGUE, P.O. Box 37617, Boone, IA 50037-
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and old addresses as printed on most recent label. Subscribers: If the Post Office alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. If, during your subscription
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307
Last Look
Fendi bag
P H OTO G RA P H E D BY RO B I N P LUSQU E L L EC,
É C O L E N AT I O N A L E S U P É R I E U R E D E L A P H O T O G R A P H I E , A R L E S .
308
The Graduates
These images were shot by photography students
and recent alumni tasked with creating a still life
featuring an oversized handbag or two—and
whether they focused on a tote, a shoulder bag,
or a satchel, the results are clearly summa.
Prada bag
P H OTO G RA P H E D BY C L É M E N C E E L M A N ,
É C O L E N AT I O N A L E S U P É R I E U R E D E L A P H O T O G R A P H I E , A R L E S .
Last Look
Dior bag ( L E F T ) and Louis Vuitton bag ( R I G H T )

P H OTO G RA P H E D BY O L I V I A GA L L I ,
PA R S O N S S C H O O L O F D E S I G N , N E W Y O R K C I T Y.
Dolce & Gabbana bag
P H OTO G RA P H E D BY K A H D E E M P ROS P E R J E F F E RSO N ,
FA S H I O N I N S T I T U T E O F T E C H N O L O G Y, N E W Y O R K C I T Y.
311
Last Look
1 2
3 4
1. Balenciaga bag, P H O T O G R A P H E D B Y C O N S TA N Z A V A L D E R R A M A , R O YA L C O L L E G E O F A R T, L O N D O N .
2. Saint Laurent by Anthony Vaccarello bag, P H OTO G R A P H E D BY PA M E L A M A R T I N E Z ,
FA S H I O N I N S T I T U T E O F T E C H N O L O G Y, N E W Y O R K C I T Y. 3. Marni bag (LEF T) and Asata Maisé bag ( R I G H T ) ,

P H O T O G R A P H E D B Y S A R A H L E Ï L A P AYA N , É C O L E N AT I O N A L E S U P É R I E U R E D E L A P H O T O G R A P H I E , A R L E S .
4. Ralph Lauren Collection bag, P H O T O G R A P H E D B Y T R E V O R J A M E S , P A R S O N S S C H O O L O F D E S I G N , N E W Y O R K C I T Y.

5 6
7 8
5. 1 Moncler JW Anderson bag, P H O T O G R A P H E D B Y E D E N H A W K I N S , R O YA L C O L L E G E O F A R T, L O N D O N .
6. Celine by Hedi Slimane bags, P H O T O G R A P H E D B Y S H A B I H A J A F R I , S TAT E U N I V E R S I T Y
O F N E W Y O R K , N E W P A LT Z . 7. Tory Burch bag, P H O T O G R A P H E D B Y N A O M I M E R L A I N , H O W A R D U N I V E R S I T Y,
WAS H I N GTO N , D.C . 8. Kenneth Ize & Sagan Vienna bag ( L E F T ) and Coach bag ( R I G H T ) ,
P H O T O G R A P H E D B Y M Y L E S L O F T I N , P A R S O N S S C H O O L O F D E S I G N , N E W Y O R K C I T Y.
Last Look
Hermès silk kit bag accessory and scarf ( T O P )

Givenchy bag with attached scarf and bracelet ( B O T T O M )
P H O T O G R A P H E D B Y K E H A N L A I , PA R S O N S S C H O O L O F D E S I G N , N E W Y O R K C I T Y.
Balmain bag
PHOTOGRAPHED BY SIENA SABA ,
FA S H I O N I N S T I T U T E O F T E C H N O L O G Y, N E W Y O R K C I T Y.
Last Look
DETAILS, SE E IN THIS ISSUE
Max Mara bag with attached bucket bag

P H OTO G RA P H E D BY N A DJA E L L I N G E R ,
R O YA L C O L L E G E O F A R T, L O N D O N .
316

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