NOV

THE WHIRLWIND LIFE OF

MICHAELA COEL
NEXT STOP: WAKANDA

QUEEN ELIZABETH II IN TRIBUTE

THOM BROWNE SUITS UP FOR HIS NEW ROLE
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32 64
Editor’s Letter Passion Projects
The best new
40 books explore
Contributors obsessions

42 66
Remembrance Idyll Time
Annie Leibovitz Monteverdi opens
and Hamish a new wellness
Bowles on Queen center in Tuscany
Elizabeth II
66
48 Scene Stealers
Nostalgia Renée Fleming,
In 1971, Mary Kelli O’Hara, and
Gordon found Joyce DiDonato
herself among bring The Hours to

FASHI O N E D I TO R: JO RD EN B I C KHA M . HA I R, MUSTA FA YA N A Z; M A KEU P, RO MY SO LE IM ANI. PRODUCED BY ANNA PANOVA FOR D IRTY PR ETTY PRODUCTIONS.
women brave the Met
enough to tell
their abortion 68
stories. Then Skin Deep
she found the Jared Leto’s
courage to desert-inspired
share her own beauty debut is
more than a mirage
56
View From 70

E XECU T I V E P RODUC ER : M AT EE N MO RTA Z AVI . LO CAT I O N : RI V E RTOW N LO D G E , H UDSON, NY. D ETAILS, SEE IN TH IS ISSUE.
the Top Here Comes
After years of Trouble
highs on the Three new
slopes and the streaming series
streets, Moncler cover dangerous
is launching a territory
customizing
program. Emma 70
Elwick-Bates Legion of
tries it Meret
on for size A sprawling
Meret Oppenheim
60 survey opens
Unlaced at the Museum
The corset, of Modern Art
long a symbol of
constraint, is 76
reinvented as an Gains and
emblem of body Losses
empowerment— Does a
for any gender. groundbreaking
By Liana new study change
Satenstein what we thought
we knew about
62 metabolism and
Strong aging? asks
Weather Amy Synnott
Three fall films
pack a punch C O N T I N U E D >2 6

THE SWING OF THINGS

MODEL ABBY CHAMPION WEARS A MAX MARA
TEDDY COAT. LAFAYETTE 148 SHOES
AND SOCKS. THE ROW BAG. PHOTOGRAPHED
BY SEAN THOMAS.

20 NOVEMBER 2022 VOGUE.COM

 FENDI BOUTIQUES 646 520 2830 FEN D I .CO M

ROMA
 November 2022

OPPOSITES Harvey Weinstein

ATTRACT investigation
JEREMY POPE (FAR for The New York
LEFT) AND PAUL
BETTANY STAR ON Times, and how
BROADWAY IN THE art imitates life in
COLLABORATION. a stirring new film
PHOTOGRAPHED
BY TESS AYANO.
104
The Odd Couple
The Collaboration
is putting Andy
Warhol and
Jean-Michel
80 Basquiat on
On a Roll Broadway. Costars
Michaela Coel Paul Bettany and
has always set Jeremy Pope
the terms of her paint us a picture.
career. What’s By Marley Marius
next? Playing a
Black Panther 108

S P EC I A L E FFECTS M A KEUP, E LI ZA B ET H YO ON . P RO DUC E D BY A RT P RO DUCT IO N . SE T D ESIGN: MILA TAYLOR -YOUNG. D ETAILS, SEE IN TH IS ISSUE.
FASHI O N E D I TO R: MA X ORT EGA . HA I R, C HA RLI E LE M IN DU; G RO O MI N G FO R P O P E , JA I WILLIAMS; GROOMING FOR BETTANY, AMY KOMOROWSKI.
super warrior. On Just One Thing
a visit to Ghana, A coat can truly
Coel’s ancestral go the distance,
home, Chioma as model Abby
Nnadi tries to Champion and her
keep up piece from Max
Mara prove
94
Strong Suit 114
Thom Browne Play On!
ushered in a The sporting life
radical revision of gets glamorous
what tailoring as key pieces from
could be, changing the court to the
it forever. Now, track are sharply
he tells Nathan reinterpreted
Heller, he’s trying for daytime
something else
on for size as 128
the new chairman The Get
of the CFDA Outfit your
weekend jaunt
100 with neat knits
Meet the Press and adventure-
Reporters Jodi ready accessories
Kantor and Megan
Twohey open up 136
about their Last Look

Cover Look Full Flight

Michaela Coel wears a Gucci Made To Measure
Dress by Alessandro Michele. Gucci earring. To get
this look, try: Teint Idole Ultra Wear Care & Glow
Foundation in Shade 520W, Dual Finish Highlighter
in Radiant Rose Gold, Hypnôse 5-Color Eyeshadow
Palette in Bronze Absolu, Le Crayon Khôl in Black
Ebony, Le 8 Hypnôse Mascara, Sourcils Styler
in Brun, and Juicy Tubes in Framboise Pop.
All by Lancôme. Hair, Virginie Moreira; makeup,
Bernicia Boateng. Details, see In This Issue.
Photographer: Malick Bodian.
Fashion Editor: Ib Kamara.

26 NOVEMBER 2022 VOGUE.COM

Letter From the Editor

Role Models
AS THIS ISSUE WENT TO press, Her Majesty Queen
Elizabeth II died at Balmoral Castle in Scotland. It felt,
as so many have said, like the end of an era. Her reign
reaches back as long as I have memories—but a recent one
stands out. I remember sitting with her at designer
Richard Quinn’s show in 2018.
She told me she was delighted HIGH LIGHTS
to be there, remembering ABOVE: QUEEN ELIZABETH II AT
RICHARD QUINN’S RUNWAY SHOW IN
how she herself had appeared 2018. LEFT: ROGER FEDERER AND
HIS WIFE, MIRKA, PHOTOGRAPHED BY
in a fashion show before she PATRICK DEMARCHELIER, VOGUE,
became queen. She spoke with 2004. BELOW: MIRKA AND ROGER AT
THE MET GALA IN 2017.
a joyousness and a humor that
bounded around the room.
Unforgettable for all of us there.
And there was another loss in
September—less monumental,
of course, more personal
and bittersweet. My friend and
hero Roger Federer announced
that he is retiring from
professional tennis. This
news—following so soon after Serena Williams’s So raise a racket
farewell—was an added heartbreak, but also cause for with me to Roger as he
gratitude and a celebration. For no player deserves embarks on the next
retirement more. phase of an extraordinary
I remember first watching Roger play when he was a adventure. It’s not a
longhaired youth at the 2003 Tennis Masters Cup in question of who will be
Houston. There was that incredible speed, the unreal work the next Roger Federer: There is, and there will always
close to the net. And there was the way he made it all look ever be, just one.
devastatingly easy. But there was also, just as important, It is fitting to consider both of these heroic figures in an
a kindness and a grace—one might even say a dignity—in issue with such strong currents of personal confidence.
the way he carried himself on the court and off. Certainly the American designer Thom Browne knows
It wasn’t long before I managed to meet Roger. He exactly who he is. Nathan Heller’s perceptive profile of

TO P : YUI MO K- P O OL/G E T TY I M AG ES. BOT TO M: TAYLO R JEW E LL , T HEO W E NN E R.

was interested in fashion and eager to talk about it. There
was nothing I wanted to talk about less; I wanted to talk
tennis. We never stopped conversing at cross-purposes
this way, him asking me about designers and me brushing
off the questions to ask about what he did on the court.
But at some point we realized that—even if we never did
get the information we wanted—we liked each other
enormously. I helped him with some looks, and he did his
valiant best to help me with my game.
I have come to see how generous he is—to his wife,
Mirka, and his four children above all. They are devoted to
one another, and it’s a delight to see how the many Federers
will often travel together, and seem to sleep all together in
a single hotel room, like a touring circus on a budget. Roger
recently told me that the upside of retirement, for him, was
that it would give his family their turn to shine. He wanted
his children to be able to go to school in one place; he
wanted them to be free to grow and define their own lives.
him (see “Strong Suit,” page 94), accompanied by images
from Annie Leibovitz, coincides with Thom taking over
leadership of the CFDA. I can’t imagine a better mentor
for young American designers, nor a better advocate for
our industry. And our cover star, Michaela Coel, has made
a reputation of working only on her own terms. Vogue’s
Chioma Nnadi spent time with her in Ghana (see “On
a Roll,” page 80), and Malick Bodian’s images capture
her in the busy streets of Accra. We’re all excited to see
Coel in the next Black Panther movie. She plays Aneka,
a fearsome combat instructor who is brimming, naturally
enough, with self-confidence.

32 NOVEMBER 2022 VOGUE.COM

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A Dramatic Bow
Ava DuVernay’s QUEEN SUGAR follows the formidable Bordelon family as they navigate
tragedy, intrigue, and redemption after inheriting an 800-acre Louisiana sugarcane farm.
“To write and produce seven seasons of a modern drama centered on a Black family is a radical
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(pictured from left)

Hollywood Desonier played
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Hollywood ‘s optimism lifts the
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challenging situations. Dorsey
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Ralph Angel Bordelon
played by Kofi Siriboe
Ralph Angel’s admirable
commitment to his wife and
son—at all costs—creates a series
of less-than-ideal situations.
A lesser actor might let this arc
border on futile, but Siriboe
conveys the depth of a man
trying fervently to live up to
the dreams of his father.
Micah West played
by Nicholas L. Ashe
Micah is an ambitious
second-year student at HBCU
Xavier University. As he grapples
with his sexuality, it leads the
series to ask, as Ashe puts it,
“How are Black men allowed to
love one another in America?”
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(pictured from left)

Nova Bordelon played by Rutina Wesley
Nova is a compelling mix of sharp edges
and vulnerability. A journalist and activist,
she doesn’t rest until justice is served.
“I meet a lot of women who just love Nova’s
rawness, and love that nothing about her
is sugarcoated,” Wesley has said.
Darla Sutton played by Bianca Lawson
In a show full of complex women, Darla’s
journey is poignant. She’s a recovering
addict against whom the cards seem
stacked, but after a beautiful backyard
wedding during the pandemic, and the
joyful news of a new baby on the way, it’s
impossible not to root for a happy ending.
Violet Bordelon played by Tina Lifford
When asked about Aunt Violet,
Lifford—the veteran actress who has
portrayed the matriarch since the series’
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Game Time
“If ever there were a time to shoot a Vogue
story, it would be during a heat wave,”
jokes photographer Campbell Addy. This
summer, he, contributing fashion editor
Gabriella Karefa-Johnson, and models
Achenrin Madit, Akon Changkou, Maty
Fall, and Nyagua Ruea decamped to a
field in boiling North London to set fall’s
sportiest separates into motion (“Play On!”
page 114). Suffice to say that they and A Moving Scene
choreographer Abdourahman Njie, who For this month’s cover story, centered on Ghanaian British writer-actor
masquerades in the story as a local Michaela Coel (“On a Roll,” page 80), photographer Malick Bodian and
footballer (that’s him with Madit, wearing stylist Ib Kamara rushed headlong into the hustle and bustle of central
a Ralph Lauren RLX tank and Max Mara Accra, Ghana, shooting Coel in Makola Market, at the beach, and zooming
skirt, above), worked up a real sweat— down the streets on her Rollerblades. “It was amazing to see an African
although it hardly put a damper on the fun. woman celebrated in the way I have always believed they should be,” says
“What can I say? I feel like this shoot was Kamara, the Sierra Leone–born, London-based editor in chief of Dazed
meant to be,” Addy goes on. “All of our magazine. “I hope young Black girls will be able to see themselves in this
energies were bouncing off one another.” light—inspiring and opening doors for more African talent in the future.”

Speak Now
In “Meet the Press” (page 100), New York Times journalists
Megan Twohey and Jodi Kantor—who together
published an investigation into sexual misconduct by
Harvey Weinstein in 2017—discuss how their reporting
and their 2019 book, She Said, became a major new
film starring Carey Mulligan (as Twohey) and Zoe Kazan
(as Kantor). Their landmark story earned them a Pulitzer
Prize and further ignited the #MeToo movement—
but for Twohey and Kantor’s Vogue portrait, proceedings
were happily low-key. “The great surprise was that the
New York Times newsroom, which is usually buzzing with
activity, was nearly empty, as many offices still are in
Manhattan,” says photographer Susan Meiselas. “That
was also lucky in some ways, so we could find a place
to frame Jodi and Megan together without disturbing
anyone”—and, when all was said and done, they could
quickly go back to work.

40 NOVEMBER 2022 VOGUE.COM

 Annie Leibovitz was invited to
photograph Queen Elizabeth II at
Buckingham Palace in 2007. She took
four portraits that day—and would
photograph the queen a second time,
at Windsor Castle in 2016. Here are her
memories of her first, historic sitting.

wanted a straightforward,
Queen
I intelligent portrait. I thought
that this would be my only
chance to photograph the
queen, and I was allotted less than
half an hour. They showed me
Elizabeth II,
catalogs of her clothes and jewelry
and asked me to pick what she
would wear. I picked a long gold dress
as a base. The rest—the dark cloak
1926–2022
that Cecil Beaton photographed In honor of Britain’s longest-
her in, and the Order of the Garter
robe, and a fur coat—would be reigning monarch, Annie Leibovitz
layered on top of it and removed for and Hamish Bowles pay tribute
the different pictures.
The queen arrived late, not in a to a life of resilience and service.
terribly good mood, and was wearing
a tiara, which wasn’t in my plan
(the tiara was supposed to come later
in the shoot). I asked if she could
remove it so that the image would be
simpler. “Less dressy” was how I put
it. “Less dressy!” the queen replied.
“What do you think this is?”
She was probably the most
photographed person in the world
and we talked about photography.
I brought up Dorothy Wilding and
she said Wilding didn’t even come to
the famous shoot in 1952. Wilding
had her assistant take the photograph
of her. We also talked about Jane
Bown, who was about the queen’s age
and took her 80th birthday portrait.
Bown came to the palace alone,
carrying two bags full of equipment.
“Yes, she came all the way by herself!”
the queen said. “I helped her move
the furniture.” She remembered all
these things. I told her I was using
Beaton as a reference for working at
Buckingham Palace, and she said,
“You have to find your own way.”
In this image she is seated in the
White Drawing Room, by the
window. She was someone who gave AMAZING GRACE
herself over to the creative process, The queen in the White
to the photographer, or the artist or Drawing Room at
Buckingham Palace in
the painter, to use their imagination. 2007. Photographed
—  by Annie Leibovitz.

42 NOVEMBER 2022 VOGUE.COM

Remembrance
Remembrance
In an appreciation, Hamish Bowles
recalls the late monarch’s twisting
path to the throne, her legacy of staunch
leadership, and her unfailingly good
style, as chronicled in the pages of this
magazine over many decades.
n September, Her Majesty
I Queen Elizabeth II, Britain’s
longest reigning monarch, died
at Balmoral Castle in Scotland,
age 96 and surrounded by her
children, including King Charles III.
Through the 70 years of her reign—
years of steadfast service to her
country and the Commonwealth—
the queen was globally revered
and widely beloved as she
weathered a roiling century
(and some personal storms)
with enduring equanimity and
grace. She witnessed history
being made and was a part of
it. Her knowledge of world
events, politics, and power
structures was nonpareil.
Known to us all as a symbol
of stability, she was at once
perceived as an extended
member of her subjects’ families
and a fierce guard of her own
inner world, remaining in many
ways inscrutable to the end.
Princess Elizabeth Alexandra
Mary (carefully named for one
distinguished British monarch,
her great-grandmother Queen
Alexandra, and her devoted
grandmother) made her formal
debut in Vogue in the issue
published August 15, 1927, flashing
a beaming smile for the society
photographer Marcus Adams
and even coaxing one from her
grandmother Queen Mary.
The young princess had been born
to a famously happy home. Her
father, Prince Albert, was the
excruciatingly shy, stuttering second
son of the martinet King George V
and the frigidly correct Queen Mary.
His glamorous older brother, Prince
Edward—known to friends and
family as David—was destined to be
king, and so not too many eyebrows
were raised when Albert fell madly
in love with a woman who would
become, as Vogue put it, “our first
44 NOVEMBER 2022 VOGUE.COM
consort in centuries not a royalty
born.” Lady Elizabeth Bowes-Lyon,
daughter of the Earl of Strathmore
and Kinghorne, was raised at
Scotland’s storied Glamis Castle, a
place of doughty stone walls and
spiky gray turrets built at the turn of
the 15th century. She and Albert were
married in April 1923 at Westminster
Abbey, and their eldest daughter
was born three years later. Princess
Elizabeth’s sister, Princess Margaret,
was born at Glamis Castle in 1930.
Marcus Adams also photographed
the solo portrait published in the
May 1, 1928, issue of Vogue, in which
FIRST BLUSH
A young Princess Elizabeth cuddles a
corgi at home in London in 1936.
opposite: Photographed by Cecil Beaton
for the March 1, 1946, issue of Vogue.
the infant princess—dressed in a coral
necklace, holding a silver rattle, and
backlit to accent her aureole of pale
curls—was included in a portfolio of
“Young Persons of Importance.”
In 1937, the year that Princess
Elizabeth’s uncle David was due
to be anointed King Edward VIII,
he succumbed to the jet-set charms
of American divorcée Wallis
Simpson, whom he had met in 1930,
renouncing his throne in order to
be with “the woman I love.” And so
David’s stammering younger brother
Bertie suddenly found himself
king, crowned as George VI, and
David was created the Duke of
Windsor. The queen’s parents may
not have possessed the shiny,
hollow glamour of the Windsors, but
these were not qualities that had
distinguished King George V and
Queen Mary either. Instead, the new
royal family made a virtue of their
ordinariness, presenting themselves
as a close-knit nuclear family leading
lives of cozy domesticity that many
middle-class Britons could identify
with. When the nation wanted
Cinderella romance, pomp,
and ceremony, however,
they could provide that too.
In 1939, when she was 13,
Vogue deemed Princess
Elizabeth “very self-possessed.”
She had now graduated from
coral beads to a diamond
bracelet that her father had
gifted her for this significant
birthday; her mother gave her
her first long silk stockings.
“She has her own sitting room
at Buckingham Palace,” Vogue
noted, “orders her own flowers,
arranges menus and issues
invitations for her own parties,
and is patroness of a charity.”
By the time Vogue published
its February 15, 1943, issue,
however, this decorous life was
over: Britain was at war, and
LE FT: LI SA S HE RI DA N /G E TT Y I MAG ES. O P P OS IT E : CECI L BE ATO N , VOGUE, M A RCH 19 46.
when the 16-year-old Elizabeth
appeared in the magazine,
posing for Cecil Beaton, she now
wore a martial hat and the diamond-
set badge of the Grenadier Guards,
of which she was the honorary
colonel (“the first woman in English
history to command a senior
regiment of foot guards”), pinned
to the lapel of her tweed jacket.
Happily, Cecil Beaton was back for
a photographic portrait published
after the war on March 1, 1946. This
time, “the Heiress Presumptive to
Britain’s throne and the handsome
symbol of Britain’s continuity”—now
19—was pictured against one of
Beaton’s famous backdrops (blown
up from the detail of a Fragonard
painting), wearing a dress of >46
 Known to us all as a
symbol of stability, she
was at once perceived as
an extended member of
her subjects’ families
and a fierce guard of her
inner world
 A LIFE IN FULL surrounded by the full resources of
clockwise from the church and royal state—gold plate
left: A 1957 on the high altar, trumpeters, glass
illustration by Carl

O P P OS I T E TOP LE FT: WO RLD HI STORY A RCHI V E /A LA M Y. O P P OSI T E TOP RI G H T: CE NT RAL PR ESS/GETTY IMAGES.
Erickson; in her coaches, tiaras, Household Cavalry,
capacity as Colonel mediaeval standards.” British Vogue
of the Grenadier surrendered its assigned press seat to

TO P LE FT: CEC I L BE ATO N /CA M ERA P R ESS/RE DUX . TO P R I G HT: C EC IL BE ATON , VOGUE , AUGUST 19 47.
Guards in 1942;
photographed by
the Polish-born expressionist painter
Cecil Beaton in Feliks Topolski, who had lately
1942; alongside distinguished himself as an official
her husband, war artist, and American Vogue
Prince Philip, in
1953; at Balmoral shared his wonderfully evocative
Castle in 1967. lightning sketches of the scene—
capturing, in his impressionistic I LLUST RAT I ON : CA RL OSCA R AUGUST E RI C KSO N , VO GUE, O CTO B ER 19 57.

brushstrokes, such recognizable

tulle fluttering with sequined
butterfly embroidery created by
Norman Hartnell.
In 1938, the dashing, flaxen-haired
Prince Philip of Greece and
Denmark had entered the Britannia
Royal Naval College at Dartmouth,
where he first met the young Princess
Elizabeth, then 13, and her sister
when they came to visit. The former
was struck by the young man
whom Vogue’s writer Ray Livingston
Murphy (a biographer of Lord
Mountbatten) considered “tall,
blonde, with the shoulders of an
athlete, a firm chin, and frank eyes.”
The young princess and lieutenant
began to correspond, she kept
his photograph on her desk, and
romance eventually bloomed.
The couple wed on November 20,
1947. “The Wedding became a
pageant to refresh the inner eye,”
noted Vogue in the January 1948 issue,
“to expand the historical imagination.
At its center were two young people,
figures as the dowager Queen Mary
in one of her distinctive toque hats.
The princess was dressed by
Hartnell in a gown of British woven
silk satin, inspired, as the designer
noted, by Botticelli’s Primavera and
embroidered with seed pearls in
foliate designs. The bloom-shaped
pieces cut from the dress to form the
design were reembroidered onto
the veil, and the effect was suitably
romantic and theatrical for a nation
starved of glamour through the
make-do-and-mend war years and
the rationing and austerity to

46 NOVEMBER 2022 VOGUE.COM


“She holds the affection and
admiration of a world
which watched her grow up,” wrote
Vogue of the queen in 1953
follow. (Although fashion-forward
Princess Margaret had already
embraced the soft-shoulder romance
of Christian Dior’s New Look,
her elder sister still followed the
hard-shoulder wartime line.)
Prince Philip’s role was clear: to
support his wife and stabilize the
crown. “He told me the first day he
offered me my job,” Michael Parker,
the prince’s first private secretary,
related to his feisty biographer
Fiammetta Rocco, “that his job—first,
second, and last—was never to let her
down.” Six years after their
wedding—in the middle of a royal
tour of Africa, India, and Australia—
this role became preeminent when
the self-effacing King George VI
died of coronary thrombosis at the
age of 56 and his eldest daughter
ascended to the throne. Forced to
give up his naval career, Prince Philip
instead devoted himself to public
service: Over the ensuing decades
he became the diligent patron,
president, or member of more than
780 organizations, and by the time
he retired from official duties in
Remembrance
2017, at the age of 96, he had
completed a giddying 22,219 solo
engagements—and, of course, many
more with his wife.
“The catching excitement in this
Coronation of a young Queen,”
wrote Vogue in 1953, “goes far beyond
the people of her own Dominions,
for she holds the affection and
admiration of a world which watched
her grow up.” Hartnell again rose to
the occasion with a magnificent
coronation robe of stiff white satin
embroidered in silken thread and
spangles with the symbols of the four
countries that compose the United
Kingdom—the rose of England,
the thistle of Scotland, the shamrock
of Northern Ireland, the leek of
Wales—and the flower symbols
of the Commonwealth nations.
The dress represented the spirit of
monarchy translated into cloth.
Over the decades, Hartnell, Sir
Hardy Amies, Sir Ian Thomas,
Stewart Parvin, and latterly Angela
Kelly dressed the queen in daytime
ensembles of striking and uniform
color, hat to garment, so that she
would stand out in a crowd and in
evening dresses designed to set
off royal orders and jewels—and in
many instances pay subtle homage
to host nations (wattle-flower
embroideries for Australia, maple
leaves for Canada, green and white
in Pakistan like the colors of that
country’s flag, California poppies for
a visit to the Reagans).
In 1957, Vogue thrilled to news
of a visit by Queen Elizabeth II
and Prince Philip to America that
October. “There is more to this
welcoming wave of excitement than
pure romanticism: much more
than pure curiosity,” its story read.
“There is also the solid, ungrudging
respect that most of us feel for
a young woman, barely out of her
twenties, who performs an
enormously complicated and taxing
job with courage and sensitivity,
industry and intelligence.”
Vogue later celebrated the
engagement of the couple’s daughter,
HRH Princess Anne, to Captain
Mark Phillips in 1973, and
subsequently C O N T I N U E D O N PA G E 1 3 2
47
Nostalgia
Out of the Dark
In 1971, Mary Gordon found herself among women brave enough to tell their
abortion stories. Then she found the courage to share her own.
t is the fall of 1971. I have just walked into a
I
room in a church basement, where there is
a meeting of NARAL, the National Association
for the Repeal of Abortion Laws, the organization
created two years earlier by Betty Friedan.
Although abortion had been legal in New York
since 1970, it was still illegal in most states.
I’ve moved to Syracuse—the first time I have lived
outside the New York metropolitan area. I’m feeling a
bit unmoored, not yet at home in my MFA program, and
missing the political engagement I had experienced as a
college student at Barnard and Columbia.
When I see my fellow attendees, I know, as Dorothy
knew that she was not in Kansas, that I’m not in New York
City anymore. Only two of the women look like anyone
I would have ever had practice speaking to. One must be,
like me, a student: She’s wearing jeans and a peasant
blouse. The other is a Black woman with a luxuriant Afro,
a jade green turtle necklace, a black skirt, and boots. The
others seem like strangers. I had not believed that I would
ever be in a room with anyone who wore flesh-colored
pantyhose, or who wore her hair in what was called a pixie
cut, but here I am. Here we all are.
48 NOVEMBER 2022 VOGUE.COM
CO N TI NU U M, 2022 , OI L O N CA N VAS, 5 5 X 4 5 CM ; PA I NT E RS PA IN T I N G PA I NT I N GS, H ERTFOR DSH IR E.
The meeting is called to order by a short, dark, wiry,
fast-talking woman. Quickly, we get down to tactics, which
involve organizing travel to Albany and to Washington.
Despite the legalization of abortion in New York,
antiabortionists are tirelessly picketing the state legislature
with gruesome pictures of mangled fetuses. We sign up
both for counter-protests and to speak to our local
legislators in person. Pennsylvania, a close neighbor state,
will be another target of our lobbying. And we will be on
the alert for actions in DC, targeting the Supreme Court.
So far, so straightforward. But then our leader says,
“What we need is to talk about why we’re all here. The
problem is no one wants to talk about abortion. But
I think it’s important to make things personal.”
She describes growing up in an Italian neighborhood
in Buffalo. “You’d hear it whispered among the women,
‘enceinta, enceinta…’ and not in a happy way. I got
pregnant when I was 16. An older cousin forced himself
on me. He was making more money than anyone in the
family, and was looked up to as a success, and he >52
WOMEN TALKING
“I THINK IT’S IMPORTANT TO MAKE THINGS PERSONAL,” OUR LEADER
SAYS. CATHERINE REPKO, CONTINUUM, 2022, OIL ON CANVAS.
 FREE
PEOPLE
Nostalgia Truth Telling

said no one would believe me if I said anything about woman doctor, very distinguished, and it was known that
what was going on. And he said to remember that he was she would perform abortions. I volunteered to help her
lending my family money so my brother could go to because in the hospital where I worked so many women
college. I was terrified, and ashamed, but I told my sister, had experienced botched abortions—the part of the
who was older, married, with children. She said everyone hospital where they were sent was known as ‘the septic
in the neighborhood knew about a woman who took care tank.’ The doctor I volunteered for was discovered and
of things. She came with me to this woman’s apartment. jailed for a year. She lost her license to practice medicine.
We didn’t talk. The woman covered her kitchen table with She died a year later, shunned by the community, and
a white sheet, took some kind of medical instrument deprived of her work.”
out of a pot of boiling water and after an excruciatingly The one Black woman in the room speaks next. “It was
painful time, she showed me into her bedroom, where my sister. One night she came home and passed out the
I rested. My sister handed her money, and we left.” minute she walked in the door. She had aborted herself
The next woman to speak is older and the most elegant using a knitting needle. We called an ambulance, but
in the room. She wears a tweed suit; her silver hair is in a ambulances took their time coming to our neighborhood.
French twist, her accent refined, although not off-putting. She bled to death on the bathroom floor.”
It reminds me of someone, and then I realize who: Julia “I have two kids,” she continues, “a good husband, but I
Child. “It was 1937. I was 21 and working on a newspaper had a miscarriage between my kids, it was only 10 weeks.
in Washington. I was having a relationship with a I was lying in bed, and I passed something that I thought
rather aristocratic Englishman, separated from his family maybe was a heavy period. I collected what I had passed
overseas. It was a pleasant relationship, but nothing and took it to the doctor. He said that I had miscarried.
serious. I became pregnant, or ‘fell pregnant,’ in his words. And I thought of my sister, and that people were saying
There was no way we were going to marry. He told me that people like her had committed murder, and I knew
not to worry: It had happened to many that whatever it was that had come
of his friends in London and there out of my body was not a child, not
was an easy way of dealing with it. We were given a person, and since then I’ve been so
A well-known Harley Street doctor strength, knowing that furious, I just have to do something.”
had a nursing home in the country Then it is my turn. I have never
where posh girls who needed abortions what had happened spoken publicly about my abortion,
could go. It was safe, and not, he assured to us had happened to but I am full of admiration at
me, harrowing. We flew to London.
It was exactly as he said: clean, pleasant, many, many women the dignity of the women who have
expressed themselves.
even a bit bucolic. It would never have “It was the day after Thanksgiving,”
happened here, and it would never have happened if he I say, “and I had a date with a friend of a friend to see the
weren’t wealthy and connected.” movie Camelot. I wept uncontrollably leaving the theater.
The young woman who I assumed was a student speaks My date, feeling the need to comfort me, invited me to his
next. “I got pregnant and told my best friend. She said apartment. Comfort led to what was then known as heavy
she would talk to her father, who was an obstetrician. He petting. We did not have intercourse, and I didn’t know
was very kind, and said he would help me but we would then that intercourse was not, in some rare cases, required
have to say that I was threatening suicide. I was ashamed, for impregnation. I missed my period, but I couldn’t
but I knew I was safe.” imagine that I was pregnant. I consulted a gynecologist.
“I’m from California,” says a woman who seems to be He told me that in fact I was 10 weeks pregnant. If I could
somewhere in her 30s. She is wearing what I think might come up with $2,000, he could arrange for a psychiatrist
be a Laura Ashley dress: small pastel flowers on a pink to write a letter asserting that I was mentally unstable and
background. “I married young. My husband was a high therefore an abortion was required. There was no way
school teacher, money was tight, and we had three kids. I could come up with $2,000. I would literally rather have
I was only 30, and we’d agreed that when the youngest died at the hands of an illegal abortionist than tell my
went to school, I could go back to college. Then I got mother. She was a hyper-devout Catholic, a widow, and
pregnant. It wasn’t an easy decision, but we both knew I was her only child. The shame that would have fallen on
that another child would put horrible burdens on me and my mother was unbearable even to contemplate.
the family…and would be the end of my chances for an Panicked, I asked everyone I knew where I could get an
education and my dream of work. There was a group in abortion. I got a number from one of my classmates.
California that connected women with doctors in Mexico “I was told to come alone and stand in front of a movie
who would perform abortions safely. One of the women theater in the Bronx and bring $300 in cash. A car pulled
in the group accompanied you to make sure everything up and the driver told me to sit in the back. He put a
was in order. We used all our savings to make it happen… blindfold around my eyes and drove in what seemed like
and of course I was sad, but I’ve never regretted it.” circles and then stopped. I was terrified; I felt like the girl
A very pale woman with a pageboy and bangs says, “I’m who gets kidnapped in a gangster movie. Still blindfolded,
from Gary, Indiana. I’m a nurse. There was a wonderful I was led by him to the basement C O N T I N U E D O N PA G E 1 3 2

52 NOVEMBER 2022 VOGUE.COM

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View From the Top
After years of highs on the slopes and the streets, Moncler is launching
a customizing program. Emma Elwick-Bates tries it on for size.
he gleaming slopes are perfect-
T ly poised for self-expression,
a blank canvas for show-
off f reestylers, schussing
snowboarders—and, of course, a great
showcase for medal-worthy style
feats. My early attempts at ski style
were formulated on trips to Sweden
on school breaks when my sisters and
I lavished zinc oxide rainbows over
our faces (the deft “color play” of Pat
McGrath it was not).
But the ultimate ski staple—a
trusty down jacket—has, along the
way, become a mainstay of the work-
aday winter, and so much more: As
temperatures drop, I wear mine bun-
dled with knits and track pants on
56 NOVEMBER 2022 VOGUE.COM
the whippet walk, or thrown over
Saint Laurent cocktail minis and
barely-there blouses for evening. And
while we may have loathed athleisure
as a fashion hype word, it did give us
all license to throw a jaunty sleeping
bag over anything and get away with
it—for a while. (While down jackets
are cozy on the inside, they can come
off as a little dire from the outside.)
But with a ski trip planned for
early 2023—to regain my alpine con-
fidence after a long hiatus—I’ve been
thinking: What to wear now? Some-
thing individual, yes, away from the
identikit-Instagram crew—but since
I’m not in the practice of relegating
my skiwear merely to annual trips, I
SLEEK PEAK
Jacket by Moncler By Me.
8 Moncler Palm Angels
pants. Details, see In This
Issue. Photographed
by Campbell Addy.
Fashion Editor: Gabriella
Karefa-Johnson.
HA I R , I SSAC P OL EON ; MA KEUP, CHI AO - LI HSU. P RO DUCED BY JA NUA RY P RO DUCT IO NS.
S ET D ESI G N : I BBY NJOYA ; M OV E M EN T, YAGA M OTO. D ETA I LS, S EE I N TH IS I SSU E.
want something that plays well on
the off-piste of home soil, too. Enter
Moncler, the luxury outerwear label
with its roots in the mountain village
of Monestier-de-Clermont, after
which it is named, but equally at home
in music videos and the metropolis; its
new bespoke personalization service,
Moncler By Me, launches online and
at Moncler stores this month in Man-
hattan, Paris, Milan, and Tokyo.
There are two quilted jacket designs
ready to personalize, both of them
inspired by the iconic glossy and puffy
Maya. “It’s the original Moncler—the
first jacket we made, in 1952,” says
chairman and CEO Remo Ruffini
from his office in Milan. “Of > 5 8
 course, it’s not exactly the same—we
have improved a lot in terms of tech-
nology, weight, and quality.” This year’s
model has a leaner silhouette thanks to
the distinctive boudin construction—
horizontally stitched quilting with
each square centimeter filled with a
precise ratio of down, ensuring both
greater warmth and a lighter weight.
The Mir is the women’s cut and the
Vion the men’s, but this is far from
prescriptive—there’s an intentional
fluidity to the project that feels mod-
ern and in keeping with the diverse
aesthetic Ruffini has brought to the
label. Four years ago, he pioneered
Moncler Genius, a rotating roster of
designers that radicalized the Moncler
offering and that has featured, among
others, Pierpaolo Piccioli of Valentino,
Craig Green, Jonathan Anderson, and
Simone Rocha. “It was a way to talk
with a different crowd, different com-
munities,” Ruffini says. By not relying
on a single vision, Genius allowed the
brand to speak to a wider demographic
as each designer challenged what fash-
ionable activewear could be. Perhaps
most radically, a pre-Genius collabo-
ration with Junya Watanabe “helped
us to develop new technology, new
ways to work,” Ruffini says. (When
he saw the early designs, the notion of
actually producing them seemed, let’s
say, daunting. “I said, ‘No—there is no
chance,’ ” Ruffini says.)
Ruffini, a consummate sportsman
himself—he skis everywhere from
Courchevel and St. Moritz to Jack-
son Hole and Aspen—doesn’t see this
new service as about fashion per se
but about “freedom—it’s what I want
to give our customers.” Over the sum-
mer, friends of the house, including
Sarah Andelman, Fabien Baron, and
Karl Templer (the brand’s campaign
stylist), have given the service a sort
of trial run. “Sarah did a great job,”
Ruffini says of the legendary Colette
founder and creative consultant. She
customized her jacket while “thinking
of the snow, love, and happiness!” as
Andelman puts it. Cue an all-white
base—decorated with several green
clovers—and a big red heart. She also
shares my on-piste/off-piste notion of
the new service: “Moncler By Me—
to me—means the mountains and the
city, the softness and the protection.”
Inspired, I try the online configu-
ration process—oddly, in the midst of
58 NOVEMBER 2022 VOGUE.COM
London’s historic 100-plus-degrees-
Fahrenheit heat wave. First, I imme-
diately size up by one, wanting to take
on my sports with heat-tech layers
underneath—but also venture into
the less glamorous environs of city-
park life with my jacket atop a hooded
sweatshirt or Aran knit. Next up, I
choose from the four Moncler-themed
colorways laid out onscreen like Pan-
tone charts. There’s Iconic (the classic
tricolor you probably associate with
Moncler branding), Mountaineering
(tougher shades—emerald, white,
olive), Paninaro (a mix of nostalgic
’80s and ’90s notice-me-now sports-
wear hues—a cool vintage orange, a
bright peacock blue), and Special 70°
(lilac and turquoise, in honor of the
brand’s 70th anniversary).
I’m sold on the Paninaro, named
after a stylish ’80s youth subculture
in Milan—think early hypebeasts
I start with the
hood and immediately
go for leopard—it’s
detachable, so goes my
reasoning, so any Dame
Joan Collins drama
could be played at will
in a preppy mix of colorful, graffit-
ied Moncler and mopeds—which
inspired Ruffini’s first Moncler pur-
chase at age 15 in nearby Como.
“My mom said, ‘If you want to go to
school on the back of a motorcycle,
you need a big jacket—it’s freezing,’ ”
Ruffini tells me. (So it was practical
as well as fashionable.) It also brings
me back to those early ski trips of
mine, all mirrored shades, snoods, and
the lurid color flashes of an era when
brighter was always better. (Discreet
black jacket—begone!) I pick the
vivid “azzuro” blue, and “leopy” ani-
mal print, arranging them over the six
customizable jacket sections.
Onscreen 3D jacket visualization
simulates shadow and light and offers
360-degree views, and my jacket is
starting to remind me of two of my
favorite (if disparate) sportif style ref-
erences: the dashing Formula 1 driver
Ayrton Senna, and Princess Diana,
whose daring ski mix of Head and
Bogner elegantly stood out in Lech
and Klosters. Distributing the colors,
I start with the hood and immedi-
ately go for leopard—it’s detachable,
so goes my reasoning, so any Dame
Joan Collins drama could be played
at will. Keeping the body of the jacket
fresh in minimal white, I add more
leopard to the arms, creating a gilet
effect (which also captures that retro
sports vibe I am feeling).
There’s a felted logo-bearing pocket
on the one sleeve, and that’s status
enough for me, but you can also embla-
zon a larger logo, text, or a symbol—
snowflake, heart, star, lucky clover, sun,
flame, or cloud—as you wish. (The
price of your jacket—updated in real
time—reflects the level of customi-
zation, and can range anywhere from
$1,945 to $2,670.) Experimenting
with my monogram, first modest-
sized on the chest and then larger on
the back, I settle on a gothic font on
the arm in blue, playing on my après-
ski reveal: an endorphin-popping,
sky blue lining. I am usually nervous
when using the term color blocking—
it brings to mind Lego Duplo color
combinations—but as I click “Design
Complete,” I feel that I have created a
nostalgic ski jacket on my own terms.
(A bit of derring-do in the design, I
secretly hope, may even kick my per-
formance up a notch.)
Three weeks later, my cocoon-like
jacket arrives in a giant Moncler box
(perfect for stashing lesser-used gog-
gles, moon boots, and the like). The
jacket is slick and ultra glossy, and a
well-executed parallel stop before my
full-length mirror appears to provide
the perfect contrast to high-rise black
Khaite jeans and turtlenecks (the
urban Bond-girl default look for now).
A storm on a snowcap this is not:
Ruffini talks of endless possibilities
and the expansion of the service in
terms of both design and delivery.
“This is just a taste,” he says, and then:
“Ciao!” He’s off on his boat, heading
for Capri and then Southern Italy.
His own navy Moncler By Me jacket
awaits him for a cooler adventure
later, in the Altiplano of Argentina.
“It’s not a typical ski,” he told me ear-
lier. Maybe we should all be aiming
for peak individuality—whether on
actual slopes or in Park Slope, facing
the elements never felt so lively. @
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Unlaced
The corset, long a
symbol of constraint and
control, is reinvented
as an emblem of
A
and Cali-sober younger
millennials. The looks
were ferocious, with
skin showing all-round,
from itty-bitty skirts to
curve-skimming dresses iconic corset image from
the Dior runway in 2022.
60 NOVEMBER 2022 VOGUE.COM
TO P LE FT: P HOTOG RA P HE D BY HO RST P. HO RST, VOGUE , SE PTE MB ER 15, 193 9. TO P RI GH T: PH OTOGRAPH ED BY DAVID SIMS/ART PARTNER . VO GUE , OCTOBER 20 07.
sent, Cohan had her cor-
set, which at this party she
wore with wide-leg cargos.
Years ago, of course, the
corset was something that
PA LOMA E LS ESSE R: P HOTO GRA P HED BY ZOE GH E RT NE R/A RT PA RT N ER . VOGUE , MA RCH 2021. BOTTOM: GO RUNWAY RTW F/W 22 D IOR .
constrained not just physi-
cally but psychologically. In
the Victorian era, it created
the wasp waist on women,
transforming even an ex-
pansive midsection into a
tiny concave triangle. The
effects of long-term wear
were extreme: organs were
shifted; simply breath-
ing could be a challenge.
For these reasons—along
with fashion charting a
course toward the f ree-
dom (and social scandale)
of flappers—the corset has
CLOSE FIT
been, for more than a century, a kind of
clockwise from top
left: Horst P. Horst’s sartorial Debbie Downer.
But while yesteryear’s corsets have
1939; Giorgio Armani long been emblematic of women’s
oppression when hidden underneath
bustier-print T-shirt dresses, when worn with confidence
out in the open now, they feel like a
provocative expression of whatever
wave of feminism we’re currently
living through. And while the corset
is, historically, the most feminine of
pieces, made to accentuate and exag-
gerate a woman’s curves, it has lately
become—at a time when the land-
scape of gender and sexuality > 6 2
 and personal freedom is being policed
like never before—the most demo-
cratic of garments, donned by any and
all. Dario Princiotta, a corset maker
based in Palermo, Italy, made his
first corset at the age of 11 and often
models his creations on Instagram.
“I love to wear them because of the
way they make me feel—they give
me an attitude, a stronger and more
dramatic appearance.”
Celebs love to be harnessed into
them, too—Dua Lipa will slip into a
strapless one, Bella Hadid a denim
one; Kourtney Kardashian even mar-
ried Travis Barker (at the third of their
three ceremonies) in a corset minidress.
But no one loves a corset more than
Lizzo, who collects them and steps out
in them and performs in them. At the
2022 Met Gala, she dazzled on the red
carpet in a black Thom Browne cor-
set dress with an exaggerated peplum.
(She also owns a corset with the image
of the Mona Lisa on it—though with
the famous face replaced with Lizzo’s.)
On the fall 2022 runway, Marc
Jacobs showed corsets that whittled
the waist—a standout was a white
iteration so tight it made the hulking
black shirt it was styled over almost
explode. That same season, Versace
showed saucy bone-in silk corsets in
electric blues and baby pinks—and
another in pinstripes—all of which
created a sexy bull’s-eye at the waist.
Fendi, meanwhile, styled theirs over
boyish button-up shirts.
Thom Browne alum Jac kson
Wiederhoeft, who launched his
Wiederhoeft label three years ago,
transformed the old-time pieces
into new-era creations including a
clubby strap dress with a built-in
waist-pinching corset. Wiederhoeft
even created corsets for two grooms
for their wedding ceremony, to “give
that feeling of sculpture,” he says, like
“when you look at a marble statue.”
The corset works its magic not only
by its shape—and its shaping—but by
the process of actually putting it on.
Somewhere out in the ether, there
exists a hilarious video of me helping
Vogue editor Lilah Ramzi get herself
into one for some megawatt gala: My
knee is pushing into her back to cre-
ate more space, and I’m summoning
Mike Tyson–level strength to lace her
into the piece.
As anyone who’s been in a corset
can attest, the immersive experience
is real. “Obviously a shoe can shape
your foot,” as Wiederhoeft notes, “but
it mostly changes the position of your
foot, whereas a corset can really change
your body—it changes your posture,
how you breathe, how you walk.”
And while that might not be the
most comfortable situation, the frock-
and-frill messiah Batsheva Hay of
Batsheva, who has been using cor-
sets throughout her racy-Little House
on the Prairie collections, says maybe
a bit of discomfort isn’t such a bad
thing. We’ve been used to it forever
with punishing shoes, so why not with
a corset? Only this time the option is
open to everyone, on our own terms.
“It’s such a gendered move to chisel
the waist, because the waist-hip ratio
is the epitome of classical femininity,”
Hay tells me over drinks in the East
Village, “and a corset creates an artifi-
cial femininity—so whoever wants to
feel feminine can just put it on.” And
what’s more liberating than that? @

Strong Weather
Three fall films pack a punch.
ragedy shades the domestic family drama The Son,

T a movie about a teenage boy’s struggle with depres-

sion that becomes—thanks to the force of Hugh
Jackman’s performance as the father—an engross-

RE KHA GA RTO N ©S EE-SAW FI LMS L I MI T E D/COU RT ESY O F SO N Y P I CT U RES CL ASS I CS.

ing tale of helplessness and confusion. This chamber piece,
costarring Laura Dern, Vanessa Kirby, and Zen McGrath
as the titular son, comes from the French filmmaker Flo-
rian Zeller, adapting his own stage play. Mental illness is
a whirlpool here, and Jackman, who adores his 17-year-old
but also needs to believe he is okay (even when he is very
much not), finds himself drowning in it. His descent is
gripping to watch and unbearably sad.
Erudite and ferociously powerful, TÁR is a conversa-
tion starter of a movie about creative brilliance, obsession,
and sexual manipulation. The performance at its center
is from Cate Blanchett as the conductor Lydia Tár, a for-
midable public figure who emulates Leonard Bernstein
and is readying a prominent German orchestra to record
Mahler’s Symphony No. 5. She’s convinced of her genius,
as are we—even when the film reveals the cruel manipula-
tions she’s engaged in. Writer-director Todd Field—this
is his third film, his first in 16 years—has meticulously
built a portrait of intelligence and venality that defies our
judgments and confounds our sympathies.
FAMILY MAN
Hugh Jackman
stars in Florian
Zeller’s The Son,
out this November.
Aftersun also brims with emotional power. Scottish
filmmaker Charlotte Wells’s feature debut is the story
of a young, newly single father taking his 11-year-old
daughter on an inexpensive holiday in Turkey. Paul Mes-
cal does subtle work as the outwardly genial, inwardly
broken Calum, adrift between youth and responsibility,
and newcomer Frankie Corio is his daughter Sophie, a
brave, expressive girl who desperately needs something
from her dad she’ll never get. Vibrant and melancholy, this
is a lovely sunlit heartbreak of a film.— 

62 NOVEMBER 2022 VOGUE.COM

©2022 Walmart Apollo, LLC
 handlers, and hangers-on.
Passion Projects If it sounds uncomfortably
familiar, that’s because S. E.
Boyd is the nom de plume of
The season’s best new two veteran journalists and
books explore obsessions. one book editor who know a
thing or two about highbrow
dining and lowbrow media.
Befitting of its title, the caustic
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S said that she thought

literature should be

life,” and in Shirley Hazzard:

the celebrity-death industri-
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seek to seize the narrative—
and the spotlight—in the wake

FRO MT TO P TO BOT TO M: COURT ESY O F V I KI N G. COU RT ESY O F RI V ER HE A D BO O KS. COURTESY OF LITTLE, BROWN AND COMPANY. COURTESY OF ECCO. COURTESY OF FSG. COURTESY O F G ROVE AT LAN T IC.
A Writing Life (FSG), scholar of a famous per-
son’s death.
the novelist’s eventful biog- Kevin Wilson’s
raphy with the literature it new book, Now Is
became. Born into Depression- Not the Time to
era Australia, Hazzard moved Panic (Ecco), is
cleverly cute with-
Zealand, New York, and out tipping into
Europe. Olubas’s biography is saccharine terri-
more than just a map of the tory, telling the
author’s movements; it’s an story of two teen-
account, as she puts it, of “a writer age misfits who
in the process of making herself.” create a poster that
What do Prince and Charles sets an entire com-
Dickens have in common? Perhaps munity on edge
not that much except the admi-
ration of Nick Hornby, a writer anonymously
whose enthusiasms have always around town. The
fueled the best of his work. The n o ve l u n r a ve l s
two men were both staggeringly
prolific, of course, and that’s the f riends and neighbors
starting point for Dickens and imbue the poster with their
Prince (Riverhead), an ardent fan own—sometimes sinister,
letter that makes you want to reread often comic—significance,
Great Expectations while listening and the bond that ensues
to Sign o’ the Times. This slim, com- between two young adults
panionable biography champions
the creative impulse to always make secret. Though the book
more. A love letter to maximalism. has an earnest heart, it’s
In Claire Keegan’s Foster (Grove), the Irish writer colored by Wilson’s appeal-
ingly offbeat prose.
In How Far the Light
Wexford while her parents prepare Reaches (Little, Brown),
for the birth of their next child. What an engrossing debut essay
collection, the science
complex coming-of-age tale, both
intimate and richly expansive, as the considers their family and
girl’s foster family provides her with
the room and space to blossom. Bal-
ancing Keegan’s delicate prose with

heart-wrenching treasure.

the shocking suicide of a beloved bar-

tender turned writer turned culinary-

64 NOVEMBER 2022 VOGUE.COM

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 Idyll Time
Monteverdi’s new wellness center
reimagines la dolce vita.
he beautiful Tuscan hilltop of Castiglioncello del

T Trinoro is as layered in its history as its name is hard

to pronounce. There’s the past—Etruscans, Pope
Pius II, the Medicis—and
the present, which largely belongs
to Monteverdi, the lauded hotel and
spa that spans 22 acres. Over the
last 10 years, Michael L. Cioffi, an
American lawyer turned hotelier, has
bought up the town’s ancient stone
structures, refurbishing them build-
ing by building—20 guest suites here,
an enoteca there. The result is an Ital-
ian idyll: private villas, a slow-food
restaurant, a culinary academy and
garden, and a 14th-century church
that regularly hosts artists in residence, such as the conduc-
tor Sir John Eliot Gardiner and violinist Joshua Bell. This
month, Monteverdi will enter the final phase of its reincar-
nation with a split-level, 1,720-square-foot wellness center
dedicated to four areas of expertise: aesthetic (lasers, fillers,
injections), regenerative (minimally invasive micrografting),
VILLAGE PEOPLE
The Tuscan retreat marries old-world
details with modern amenities including
full-body diagnostic assessments.
preventative (nutritional testing,
immune-boosting IV therapies), and
programmatic (multiday experiences
that include diagnostic assessments
and holistic treatments), all overseen
by plastic surgeon Maurizio Caval-
lini. But unlike many other detox
destinations, deprivation is not on the menu. “We want our
guests to revel in something I like to call ‘epicurean well-
ness,’” says Cioffi, explaining the idea that enjoying a plate
of pici all’aglione and a Bach cello suite along with rejuve-
nation and relaxation leads to happiness. You can have your
Brunello and your Botox, too.— 

Scene Stealers

BOT TO M I MAG ES : PAO LA KU DACK I /COU RT ESY O F T HE ME TRO P O LI TA N OP E RA . BOTA NICAL ILLUSTRATIONS: GETTY IMAGES.
n 2017, the operatic she is wrestling with loss and regret
soprano Renée Flem- in a much more subtle way,” Fleming
ing bid adieu to the says of Vaughan, a character previ-
traditional canon— ously portrayed by Meryl Streep.

MO N TEV ER DI : BE RN A RD TOU I LLON , BOT H COU RTESY O F MO N T EV E RD I T USCA N Y.

(Kelli O’Hara and Joyce DiDonato
costar as Brown and Woolf, roles
once played by Julianne Moore and
Nicole Kidman, respectively.) “The
film starred arguably the three best
actresses at that time, and we have
arguably the three best singing
actresses of our time,” says Yannick
itan Opera. Based on Michael Nézet-Séguin, the Met’s magnetic
Cunningham’s 1998 novel and music director, who will conduct. He
hopes the book and film will bring
new visitors to the Met—in addition
to those just keen to see Fleming.
“Renée is a major event,” he adds.
For her to trade Wagner for Woolf
GETTING THEIR
FLOWERS on opera’s biggest stage has stakes
The three stars of the Met’s worthy of any bel canto story line.
new production. — 

66 NOVEMBER 2022 VOGUE.COM

 Skin
Deep
Jared Leto
has entered the
beauty game.
But his desert-
inspired product
debut is more
than a mirage.
ou would think we’d be immune to the famous-
Y
founder story at this point in its saturation. Yet I
was still surprised to receive Twentynine Palms, an
11-piece range of gender-neutral skin care, body
care, and hair care products from Jared Leto. I had ques-
tions. “Twentynine Palms, like the town at the entrance to
Joshua Tree National Park?” (Yes.) And, “Is this eye cream
actually $97?” (Also yes.)
“I know I’m a student here, but I think that’s the best
place to be,” Leto says of his entry into a very crowded
space when I interrupt his vacation in Tuscany via Face-
Time in late August. Swatting away mosquitoes in a wide-
brimmed sun hat, the Oscar-winning actor, Gucci muse,
and Thirty Seconds to Mars frontman is sporting a scruffy
beard and a loose dressing gown, chiseled chest on view.
But it’s his skin that draws the eye: At 50, Leto has the
porcelain-smooth complexion of a Renaissance cherub.
“I’ve never been really interested in beauty products,”
insists Leto, whose initial drop has a lot of them, includ-
ing a detoxifying kaolin powder clay mask and an impres-
sive exfoliating solution to gently resurface skin. “But I’m
interested in the idea of taking care of ourselves in the most
natural way possible,” he continues.
Leto is known for going all in on anything he does.
(He reportedly gained 67 pounds to channel disturbed
Beatles fan Mark Chapman in Chapter 27 before Master
Cleansing himself back to his normal weight, and one can
only imagine what madness will transpire when he goes
Method to play Andy Warhol in an upcoming biopic.) His
wellness-oriented way of life is no exception: He is a vegan
who abstains from both alcohol and caffeine, and when he
discovered the “rugged beauty” of the desert while direct-
ing a 2016 documentary series about rock climbing, his
interest in the sport snowballed into a full-blown obses-
sion. Leto bought a home in Nevada to further immerse
himself in the Mojave Desert, and his new brand’s refillable
68 NOVEMBER 2022 VOGUE.COM
IMMERSION THERAPY
The gender-neutral line of skin care and hair care
essentials features prickly pear, aloe vera, and evening
primrose. Photographed by Julia Noni.
violet-hued glass, aluminum, and post-consumer recycled
plastic bottles nod to its purple skies at twilight. The for-
mulations follow a similar script. “Because of this chal-
lenging, unforgiving environment, these ingredients have
FASHI O N E D I TO R: TOBI AS FR ERI C KS. HA I R, L A RRY K I N G; G RO OM I N G, LUCY HA LP E RI N. PRODUCED BY MAMMA TEAM.
to be incredibly resilient to survive,” Leto says, relaying the
restorative benefits of the line’s desert botanicals. (That
aforementioned eye cream is packed with brightening
prickly pear extract as well as retinol and ceramides, and,
to Leto’s credit, it leaves my eye bags looking smooth and
my dark circles minimized.)
Leto’s willingness to learn and his dedication to both
clean formulas and clean living is what persuaded Kate
Forbes to join Twentynine Palms after years of heading
up innovation for Aesop. “If I could adhere to some of
Jared’s strict guidelines, I think I’d be much healthier,”
laughs Forbes, a veteran product developer with a PhD in
chemistry. “He is 100 percent committed to anything that
he decides that he wants to do,” confirms Jimmy Chin, the
codirector of the Oscar-winning rock climbing documen-
tary Free Solo, who met Leto six years ago.
That commitment will soon take Twentynine Palms
beyond beauty, Leto tells me with such enthusiasm he
briefly drops his iPhone. He is planning a partnership with
High Desert Test Sites, the ambitious Coachella Valley–
adjacent artist residency, as well as limited-edition home
and design objects in collaboration with a rotating list of
multidisciplinary creators. Fragrances that build on earthy
aromatics (smoky Japanese vetiver, eucalyptus, myrrh) will
come next. It’s a convincing performance in which Leto
plays the part of wellness apostle; maybe it’s the beard. “It’s
just the beginning,” he suggests.— 
 *Recommended for retinol users and not for beginners **See improved look of wrinkles © J&JCI 2022
GENTLE
ON SKIN*

RETINOL PRO+ SERUM

W R I N K L E R E S U LT S I N O N E W E E K * *

FOR PEOPLE WITH SKIN TM

 Here Comes
Trouble
Three new series cover
dangerous territory.
villain story is a mutable thing,
A as the endless revisions of old
IP demonstrate. (See Malef i-
cent, Joker, Cruella, et cetera.) In
Mammals, a Prime Video miniseries from
playwright Jez Butterworth, the nefarious
character is a bit more mysterious: Who,
exactly, is sleeping with Amandine (Melia
Kreiling), the wife of Jamie ( James Cord-
en)? He’s a chef opening his first restaurant
and discovering his wife’s infidelities at the
very same moment. Corden is sharp and
surprisingly dark here, the troubled heart
of a story about the many things that can
go wrong in a modern marriage.
Dangerous Liaisons, meanwhile, a new
series from Starz, invents a richly realized
prologue for the 1782 novel of the same
name. The show charts how the Marquise
de Merteuil and Vicomte de Valmont came
to be such scheming cynics, ruining mar-
riages all over 18th-century Paris. Alice
Englert is the marquise, avenging heart-
break through wiles she learned from a wise,
if embittered, mentor (Lesley Manville).
Vengeance is also central to The English,
a Prime Video drama set in the Great Plains
at the end of the 19th century. Created by
Hugo Blick, it stars Emily Blunt as Lady
Cornelia Locke, an English aristocrat hunt-
ing down the person who killed her son
with the help of a Pawnee ex-cavalry scout.
It’s a Western worthy of Wayne, thick with
heady adventure.— 
LOVE AND WAR
Alice Englert as the Marquise de Merteuil
in Starz’s Dangerous Liaisons.
70 NOVEMBER 2022 VOGUE.COM
1977– 82 , O I L O N CA N VAS. 6 FT. 8 1 1 /16 X 8 FT. 1 13 /16 I N . KU N ST MUSEU M B ERN . ME RET OPPENH EIM BEQUEST. COURTESY OF TH E MUSEUM OF MOD ER N ART. BOTTOM LEFT: COURTESY O F STARZ.
TO P : T HE A RT I ST M ERE T O P P E N HEI M AT WOR K I N HER ST UD I O IN O BE RH OFE N , CA NTON BER N, 1958. KEYSTONE/WALTER STUD ER . PAINTING: MER ET OPPENH EIM, N EW STARS (N EUE STER NE).
Legion of Meret
A sprawling Meret Oppenheim
survey opens at MoMA.
he story behind Object, the fur-shrouded teacup, spoon, and
T saucer for which Meret Oppenheim (1913–1985) is best
known, goes like this: In 1936, Oppenheim met Pablo Picas-
so and Dora Maar for a meal in Paris, turning up to the
Café de Flore in a bracelet she’d covered in ocelot. (In 1935, when
money from her parents—who were then fleeing Nazi Germany—
stopped coming in, Oppenheim began designing jewelry to support
herself.) Her companions compli-
mented it, moving Oppenheim to
wonder what else she might coat
in fur, and the result was Object,
which she sold to the Museum of
Modern Art a decade later.
That and nearly 200 other
beguiling creations form “Meret
Oppenheim: My Exhibition,” a
survey opening at MoMA this fall
after stops at the Kunstmuseum
Bern and the Menil Collection in
Houston. Spanning paintings, drawings, sculptures, assemblages,
poetry, and works on paper, the show makes a persuasive case for
Oppenheim as more than just a Surrealist wunderkind—although
Object set a kind of precedent. “That object provides a key to threads
that run throughout her tremendously varied body of work,” says
Anne Umland, the Blanchette Hooker Rockefeller Senior Curator
of Painting and Sculpture at MoMA. “She is interested in works
that make domesticity walk on the wild side.” She also had a won-
derful sense of humor, a sharp eye for color, and the good sense
not to fade into obscurity after her early success. “At our opening,
I asked who had met Meret at least once, and one third of the audi-
ence raised their hand,” says Nina Zimmer,
IN THE ABSTRACT director of the Kunstmuseum Bern. “Every
from top: Meret 15-year-old who had the chance to shake
Oppenheim at her her hand lovingly remembers it.” Now, sur-
studio in Oberhofen, rounded by the artifacts of Oppenheim’s
Switzerland, in
1958. New Stars (Neue inventive career, New Yorkers can make
Sterne), 1977–82. some memories of their own.—..
 KITCHEN
CONFIDENTIAL
Weight gain as we
age has less to do
with numbers,
and everything to
do with diet,
exercise, and
hormones.

t is a blistering Thursday after-

I noon in August and I am sitting

at my desk on Manhattan’s Upper
West Side, glistening in sweat as I
wait for David Borenstein, MD, with
my Zoom camera on. “Thank you so
much for agreeing to speak with me
today,” I say when he appears. I’ve
been gently fanning my face with a
Gucci Lovelight floral-print fan that
was gifted to me for my 50th birthday
a few months ago—an omen of hot
flashes to come.
For the last year, I’d been a hot
mess, literally: anxious, moody, prone
to waking at 4:32 a.m. swathed in a
damp tangle of sheets. My hair was
P HOTOG RA P HE D BY PA ME LA HA N SO N, VOGUE , JU N E 19 92 .

thinning, my “elevens”—vertical gla-

Gains and Losses
For years, women have been warned that their
metabolism will inevitably slow as they get
older. Does a groundbreaking new study change
the equation? asks Amy Synnott.
bellar lines Manhattan dermatologist
Dendy Engelman had been zapping
with Botox since my early 40s—now
resembled 12s, and perhaps most
unnervingly, my waist seemed to
be expanding.
Like countless other women swan
diving into their 50s, I was entering
the twilight zone that is menopause.
I could deal with the hot flashes
(thank you, Pause Well-Aging Cool-
ing Mist). But the weight gain >7 8

76 NOVEMBER 2022 VOGUE.COM

no digital
distortion
 around my midsection—the moti- reflect broad trends across huge num- apparently isn’t doing my metabolism
vation for today’s consultation with bers of people, they do not account any favors. So for the next few months,
Borenstein—troubled me. “I feel like for individual differences,” says I trade in my long jogs through Cen-
I’m eating and exercising the same Raffaele—most notably body mass tral Park for two metabolism-boosting
way I always have,” I tell him. “But I’m and fat percentage. So could locking classes at Equinox: Stronger, a new
still gaining weight, especially here,” in on the impact of my own diet, strength-building group class focused
I continue, motioning toward a small exercise, and hormone levels on my on low reps with heavy weights, and
bulge under my cream-colored Chloé individual body mass and fat per- Tabata Max, a HIIT class featuring
blouse. Borenstein nods as he peers centage help speed up my metabo- intense bursts of cardio that’s the best
through his screen. “There’s very good lism, or at least keep it steady—even thing to happen to my core since Kim
data associating menopause with a at 50—I wondered? Kardashian introduced the Skims
decreased metabolic rate.” waist trainer. Mark Hyman, the best-
I was, of course, grimly aware of irst up, I was checked for hypo- selling author of UltraMetabolism
this conventional wisdom regarding
metabolism: Our body’s ability to
efficiently convert calories into usable F thyroidism. Perhaps I was and senior adviser at the Cleveland
one of the nearly 5 percent of Clinic Center for Functional Medi-
Americans suffering from the cine, also suggests that I eat at least
energy decreases with age, taking a condition that slows down your metab- 25–30 grams of protein per meal
particularly cruel dip during meno- olism? Nope: My thyroid-stimulating (think: chicken breasts, egg whites,
pause, at which point most women hormone (TSH) levels were just fine. and wild salmon) as protein-based
gain 5 to 8 percent of their baseline My insulin, a key metabolic hormone diets can also enhance metabolic
body weight. When you are young that regulates blood sugar, also proved functioning by helping to build mus-
and flush with estrogen, “excess cal- to be “within range.” Looking over my cle. While I’m at it, he recommends
ories are distributed into sub- reducing inflammation and
cutaneous fat around the hips blood sugar imbalances—
and the butt,” explains New “It’s possible people are which can compromise met-
York age-management spe- abolic functioning—with a
cialist Joseph Raffaele, MD. just eating and drinking more “pegan” diet that combines
As you lose estrogen, Raffaele as they get older and paleo (whole, low-glycemic,
suggests, that fat makes a bee- phytonutrient-rich foods) and
line for your abdomen. that’s why they are gaining vegan principles (no dairy, lots
But a groundbreaking study weight,” Pontzer posits of nutrient-rich fruits and veg-
recently published in the jour- gies). I haven’t eaten gluten in
nal Science largely refutes just years, so that isn’t a problem.
how early this process starts. The rate lab work, Borenstein zeroes in on my But eschewing all dairy? I’m not sure
at which your body converts the food vitamin D levels. “You need a supple- how I will go without my favorite aged
you eat into energy is often deter- ment, big-time,” he says. In addition Asiago, but I can try.
mined by genetics, explains Herman to jeopardizing bone health, vitamin And that willingness may be the
Pontzer, PhD, an associate profes- D deficiencies can negatively affect crucial variable. If the new findings
sor of evolutionary anthropology your metabolism, he adds, recom- are not exactly a magic bullet, they
and global health at Duke Univer- mending more tests: estrogen, tes- have made me think differently about
sity and the study’s lead researcher. tosterone, growth factor, leptin levels, what was previously thought to be an
Pontzer and a team of researchers ghrelin (the list is long and daunting, inevitability. “It’s possible people are
discovered that basal metabolic rates requiring about 30 vials of blood to just eating and drinking more as they
(BMR)—the amount of energ y be drawn the following morning). get older and that’s why they are gain-
expended on basic functions like “All of these hormones, which tend ing weight,” Pontzer posits, prompt-
breathing or circulating blood—don’t to fluctuate as you get older, can ing me to similarly consider how the
drastically change until much later affect your ability to lose weight,” he creaky joints, sore knees, and all the
in life than previously thought. “Our explains. The decrease in testosterone, other fun aspects of aging also likely
BMR stays pretty consistent from for instance, can lower muscle mass. contribute to less time at the gym.
age 20 until 60,” says Pontzer. The In terms of metabolic functioning, But actively pushing back against all
findings have been lauded by some this is very important: Not only does of these inclinations has led to tangi-
as being among the most import- muscle burn more calories per pound ble results: My core is tighter, I feel
ant studies about metabolism ever than fat, it also helps lower the risk stronger and more toned, and while
conducted, and seem like very good of insulin resistance, which can lead it is certainly comforting that the
news—for me, and for the number of to the accumulation of abdominal fat benchmarks for my body’s eventual
friends who have been interested in (among other, far scarier cardiovas- decline may have receded, I am more
my reporting on this subject. cular issues). encouraged by something else: a sense
The reality is a bit more compli- I work out regularly but tend to favor of control over the way I look and feel,
cated. “While those numbers may cardio over strength training, which BMR be damned. @

78 NOVEMBER 2022 VOGUE.COM

ADVER TISEMENT
HOME AGAIN
Actor, writer, and director
Michaela Coel in Accra,
Ghana’s capital, with her
father, Derek Kwesi
Coel, and grandmother
Jemima Andam (in an
Erdem dress). Coel wears
a Dolce & Gabbana blazer
and top. Louis Vuitton
dress. Dior shoes.
Fashion Editor: Ib Kamara.
 Michaela Coel has always set the
terms of her career. What’s next?
Playing a Black Panther super warrior.
On a visit to Ghana, Coel’s ancestral
home, Chioma Nnadi tries to keep up.
Photographed by Malick Bodian.

On a Roll
 ichaela Coel quads, I quickly realize that in-line school’s history to join the team,

M
doesn’t like to sit skating is a totally different beast. performing at the talent show the
still; she’s a self- Coel compares it to switching from same year. Skating is more than that
described mover, Android to iPhone. And she’s not though—it gives her a mind-body
the type to run wrong. I’m struggling to control my connection, a sense of liberation,
a half-marathon limbs and rapidly perspiring in the especially here in Ghana, she says,
in the middle of the night for fun. unrelenting heat. Aside from a cou- where she moves with a particu-
So I’m not all that surprised when ple of trees flanking the entrance of lar kind of ease. “I’d been to Africa
the 35-year-old actor-writer-director the lot, there’s little shelter from the before—Kenya and Uganda—but
suggests meeting for a Rollerblad- sun—but Coel’s basically doing pir- when I came here I was really see-
ing session on a Sunday morning in ouettes and has barely broken a sweat. ing people who looked like me,”
Accra, Ghana’s capital city. “Totally “There’s some sort of slow euphoric says Coel, who first came to the
down for that, sounds like fun!!!” I feeling that I get when I skate. It’s just West African country to film Black
respond via WhatsApp, adding one my time,” she says, breezing past. “I Earth Rising, Hugo Blick’s searing
too many exclamation points out feel like skaters are never stressed or 2018 drama series about the Rwan-
of apprehension. To be honest, it’s agitated. They’re on good vibes.” dan genocide. “A f riend of mine
a terrifying idea. The day before, in As a little girl, Coel would skate was with me, and he remembers us
Accra’s historic Jamestown, I’d wit- around the East London council getting off the plane and me walk-
nessed Coel flying through traffic on estate where she grew up with her ing around as if I knew where I was
her skates, her polka-dot going.” On that trip, she
Burberry cape flapping traveled the length and
wildly behind her, pho-
tographer Malick Bodian In Ghana, Coel moves breadth of the country,
discovering places even
and his crew in hot pur- her mother and father,
suit. It was a daredevil
stunt suited more to an
with a particular kind who emigrated to Lon-
don before she was born,
action movie than a Vogue
cover shoot.
of ease. “I’d been to didn’t know. “I remember
looking at all the kids
Looking every inch the
athlete, Coel shows up
early for our meet, slen-
Africa before—Kenya playing and it hit me, like,
Wow, this could’ve been
me and I think I would
der but strong in black
r unning shor ts and a
and Uganda—but have really enjoyed that,”
she says. “Yes, there are a
sports bra, a purple base-
ball hat thrown over her when I came here I was lot of sad things; poverty,
unemployment, struggle.
closely cropped ’fro. She There’s also a lot of peace,
shows me her skates—
white with gigantic lilac
really seeing people f riendliness. There’s a
lack of anxiety.”
wheels—and tells me that
big wheels equal great
who looked like me” By midday I’m feel-
ing less wobbly, and my
speed. “The balance is teacher Rashaq thinks
tough, but the enjoyment is max,” she mother and older sister. But it wasn’t we’re ready to hit the road. Coel
says, grinning. We’re in the parking until March of last year, while visit- knows all the best routes in the city,
lot of Decathlon, a sprawling French ing her grandmother in Accra and and suggests we head to Canton-
sports-supply store where she’s per- inspired by a group of kids learning ments, an affluent neighborhood
suaded me to buy my first ’blades. The to Rollerblade, that she picked up the with smooth tarmac perfect for Roll-
pair I’ve chosen have small wheels— sport again. Before ascending to the erblades. She navigates the streets like
the better to keep me grounded, I impressive custom gear she’s wearing a local because she practically is one;
think. With guards on my wrists and today, she bought her first grown-up last year she lived around here for six
elbows and kneepads strapped over pair of skates at Decathlon. “This is months. I do my best to keep pace
my baggy jeans, I look like an over- what happens when you’re not risk- as we skate past the organic grocery
grown teenage boy. Still, safety first— averse,” she deadpans pointing to store where she buys all her vegan
Coel insists on it. “If my skate teacher the scars on her knees, the result of supplies, an upscale eatery called
saw you he’d be like, ‘Where’s the hel- a tumble she took last spring shortly Bistro 22, and an Irish pub popular
met?’ ” she says. For now though, the before she flew home to London for with the expat crowd. Mercifully,
bucket hat is a fair compromise. the BAFTA awards. there are very few cars on the road
Luckily, Rashaq, one of several Coel has always been a fast learner, and we quickly find ourselves cruising
skater-boy types on the store’s staff, the type to throw herself headfirst down a virtually deserted residential
has agreed to give me a crash course into new challenges: As a teen- street. I fail to realize a pretty steep
before we take to the streets. As some- ager, she took up Irish dancing, the decline—and before I know it, I’ve
one who’s only ever used old-school only Black girl in her London high lost control of my skates and, arms

82
 ALL WITHIN SIGHT
Joining Black Panther:
Wakanda Forever is
something of a wish fulfilled;
while in drama school,
Coel was one of the many
who auditioned for Ryan
Coogler’s 2018 blockbuster.
Undercover earring.
Saint Laurent by Anthony
Vaccarello bangles.
 FASCINATING
RHYTHM
“Michaela can really
do anything she wants,
have any role she
wants,” says Donald
Glover, “because of the
choices she’s made.”
Michael Kors Collection
gown. Loewe shoe.
Chanel earring.
 JOY RIDE
“Everyone talks about
her genius talent,”
says her friend Paapa
Essiedu, “but the
thing that impresses,
inspires, and moves
me most about
Michaela is the size of
her heart.” Saint
Laurent by Anthony
Vaccarello jacket.
Christopher John
Rogers shirt and pants.
85
 IN MEDIAS RES
Coel stops traffic
in Accra’s bustling
Makola Market
wearing a Michael
Kors Collection wrap
and Gucci jacket,
shirt, pants, gloves,
and shoes.

flailing, I’m zooming on a direct col-

lision course with a garden fence.
Somehow, Coel manages to rescue
me, grabbing both my elbows just in
time to bring me to a stop. “Learning
to break is the hardest part,” she says
as I giggle nervously with embarrass-
ment. “You know, every time I think
about that, I think about my career.
Taking rest, learning to do that—
learning to break,” she says. “It means
something on every level.”
Coel has had a lot of practice in
setting professional boundaries, in
trusting her instincts. To maintain
ownership of her work, she famously
walked away from a $1 million deal
with Netflix in 2017 to make what
would become I May Destroy You,
the earth-shattering BAF TA- and
Emmy Award–winning drama based
on her experience of sexual assault.
She also severed ties with her talent
agency that year, who she claims had
pressured her to sign that deal. It was
the BBC who agreed to give her full
creative control and rights for the
show, with HBO signing on as a co-
producer. “No is the only power you
really have in this industry, that’s the
only way to carve a path,” says her
f riend Donald Glover. “Michaela
can really do anything she wants,
have any role she wants. She means a
lot because of the choices she’s made,
and I don’t think she takes those
choices lightly.”
Later in the day, after a well-
deser ved nap, I head out to join
Coel for a sunset dinner in Kokro-
bite, a town on the Atlantic coast
an hour away known for its white-
sand beaches. According to her, the
grilled-fish platter at this one spot

86
 is worth the drive alone. I’ve been
encouraged to pack my bathing suit;
she’s hoping we can squeeze in a dip
before we eat. When I arrive though,
it seems all bets are off. The sun’s
already low on the horizon, and I find
her at the bar on the beach under a
big Jacquemus straw hat, dressed in
a peasant-style Ganni sundress and
flat sandals. Without her enormous
skates, she appears petite and delicate,
though her energy still radiates. “You
should try some of this, it’s home-
brewed,” she says, tapping the side of
her glass. The owner of the lodge, a
cheerful barrel-chested man named
Lion, pours me a shot of Akpeteshie,
a Ghanaian liquor
made from distilled
palm wine. The taste
is sweet with a sur-
prisingly strong fin-
ish, a drink better
sipped than slammed.
The place has a
reassuringly soulful
vibe. There are lights
strung from reclaimed
wooden beams, col-
orful murals deco-
rating the walls, and
thatched beach huts
festooned with flags.
The backdrop—lush
coconut groves and
endless sandy beach—looks like
something from the movies. If you
can believe it, the restaurant’s name is
Wakanda, after the fictional African
country of superhero legend Black
Panther. “My 10-year-old son came
up with it,” says Lion proudly.
In November, Coel will appear in
Black Panther: Wakanda Forever, the
second in Marvel’s wildly popular
Afrofuturist series. News of her role
immediately lit up the internet, ener-
gizing Coel fans and comic book afi-
cionados alike. For the actor, joining
the ensemble cast was a wish fulfilled;
she’d been one of the many young
hopefuls who auditioned for the first
Black Panther movie while she was
still a student at the Guildhall drama
school in London. “I think for a lot of
people it was the first time we’d seen
some sort of representation on a very
mainstream platform about the magic
of Africa, the magic of the people, our
ancestors,” she says. “Coming here,
you do feel something magical.”
88
By the time Black Panther was
released, Coel was making a name
for herself with Chewing Gum, the
hilarious one-woman play turned
BAF TA award–winning sitcom
she created that follows the life of
Tracey Gordon, an amateurish 20-
something on a mission to lose her
virginity. She remembers attending
the London premiere of Black Pan-
ther in a halter-neck dress she’d made
out of wax print fabric her mother
had brought back f rom Accra. “I
thought to myself, I’m def initely
going in something Af rican,” she
says. Unbeknownst to Coel, director
Ryan Coogler already had his eye on
BREAKING MOLDS
“That sold me on the role, the fact that
my character’s queer,” Coel
says of playing the combat instructor
Aneka in Black Panther.
her, and he noticed how easily she
mingled with cast members. “Aneka,
the character Michaela plays, is kind
of a rebel,” says Coogler. “It made
a lot of meta sense with Michaela
being someone who is pushing the
industry forward and carving out her
own space.”
The role Coel would play in the
Black Panther sequel was still taking
shape when Chadwick Boseman,
who starred as the beloved titular
superhero, died at the age of 43 after
a long battle with colon cancer. When
filming began last year, “it felt like the
entire cast was processing grief,” she
says. “There was a sense that we have
to bring this baby home in the name
of Chadwick. I thought to myself, I’m
rolling up my sleeves and I’m getting
in. I don’t need to be front and center,
I’m here to support.” Her castmate
and friend Winston Duke describes
the emotional experience as a bond-
ing moment. “She really became part
of the family,” he says.
Coel wasn’t the only newcomer
on set. Ultimate Fighting champ
Kamaru Usman has a cameo in the
movie, and the pair became fast
friends. “We’re like brother and sis-
ter,” says Usman. In the midst of
filming in Atlanta, Coel and Duke
traveled to see Usman face his UFC
rival Colby Covington at Madison
Square Garden in New York. She
was immediately enthralled. “I was
going through a rough time, and
Usman said, ‘You
need to go fight-
ing,’ ” says Coel,
who picked up the
sport a month later
and now trains with
a Canadian mixed
martial arts fighter
in London. “It’s like
physical chess.”
In comic book
lore, Aneka is a
captain and combat
instructor in the
Dora Milaje, the
fearless all-female
crew of warriors
who protect the
kingdom of Wakanda. As the story
goes, she falls in love with her war-
rior colleague Ayo, played by Flor-
ence Kasumba, and their forbidden
affair causes disruption in the ranks.
“That sold me on the role, the fact
that my character’s queer,” Coel says.
“I thought: I like that, I want to show
that to Ghana.” Like many African
countries, Ghana has draconian anti-
gay laws dating back to the colonial
era. Most recently though, a bill has
been put to parliament calling for
some of the most oppressive anti-
LGBTQ + legislation the continent
COU RTESY O F M A RV EL STU D I OS. © 202 2 M A RVE L.
has ever seen. If passed, it could make
identifying as gay or even an ally a
second-degree felony, punishable by
five years in prison. “People say, ‘Oh,
it’s fine, it’s just politics.’ But I don’t
think it is just politics when it affects
how people get to live their daily lives,”
she says. “That’s why it felt import-
ant for me to step in and do that role
because I know just by my being Gha-
naian, Ghanaians will come.”
 he’s challenged conven-
S
tions before: I May Destroy
You struck like lightning in
2020, just as the world was
shutting down, igniting
searching conversations
around sexual violence and consent.
In fact, the series’ cultural impact is
still being felt. In January, a bill to
legally classify stealthing—the act
of removing a condom during sex
without consent—as a crime was
passed in Chile as a direct result
of a scene Coel had written. Maite
Orsini, a congresswoman from San-
tiago, was inspired to lobby for the
law after watching one particularly
chilling episode of the series. Coel
compares the experience of seeing
the world react to her work to flying
a kite—an act she set in motion but
that has taken on life of its
own, buoyed by a collective
force. “There’s this huge
thing in the air and maybe
Black Panther is
at one point I was holding
the string, but now I’m just about “representation
gazing up with everybody
else,” she says.
The real-life events
on a very mainstream
that I May Destroy You is
based on took place when
platform,” Coel says,
she was working on sea-
son two of Chewing Gum.
While up late writing at
“about the magic of
the office, she headed
out to meet a friend at a
Africa, the magic of the
bar. Sometime that night,
her drink was spiked, she people, our ancestors”
says, and she was sexually
assaulted. As she tells it, the emo-
tional trauma she suffered has been
tempered by confronting it head-on.
“I don’t think I really understood how
much making a show would make this
thing lose its power,” she says. “Now
it’s just a scar like these ones.” She
points to her knees.
And yet certain injuries linger. Since
the assault, she’s experienced unex-
plained blackouts, most recently while
having dinner with her cousin and a
friend in New York, an episode her
doctors say could have been triggered
by another spiked drink. “All I can tell
you is that it’s the most scared I’ve
ever been,” says Coel, who remembers
stumbling toward the restaurant’s exit
before losing her vision for 15 min-
utes. “The strange thing is when I was
spiked, there’s a complete memory
gap,” she says. She doesn’t remember
falling, as her character does in the
show. “There’s no memory of fear.”
Coel first shared her story publicly
at the Edinburgh International Tele-
vision Festival in 2018, where she was
invited to deliver the prestigious key-
note speech, known as the MacTag-
gart lecture, the first Black woman in
the event’s 42-year history to do so. In
the address, she spoke candidly about
the experiences that had shaped her
perspective, including her harrowing
assault, the racism she faced at drama
school, and the isolation she felt in
the entertainment world. The speech,
which formed the basis of her 2021
book Misf its: A Personal Manifesto,
would also serve as a creative spring-
board for I May Destroy You. Its import
was clear: The industry needed to be
held accountable, to be more transpar-
ent, to lift up voices like hers that had
been silenced for far too long.
And yet physically her voice was
failing her. “I don’t know if you lis-
tened to the audiobook of Misfits, but
I’m so hoarse. I have so many nod-
ules and a blood blister on my vocal
chords,” explains Coel, adding that,
in preparation for our interview, she
was prescribed medication and two
days of vocal rest in order to be able
to speak. It’s part of the reason Coel,
a theater kid at heart, has more often
than not found herself in front of a
camera and not on the stage. “My
voice is too fragile for theater.”
Fo r C o e l ’s m o t h e r, Kw e n u a
Osborne, I May Destroy You signaled
the moment she would find her own
voice. Empowered by her daughter’s
unflinching series, Osborne was com-
pelled to share her experience with
sexual violence, a family secret she had
all but buried. “For Michaela to turn
what happened to her into a show—
for a lot of people to see and be
touched by it, and for some to come
out and say, ‘This happened to me,’ is
just so inspiring,” says Osborne, a
mental-health nurse who suffered
abuse at the hands of someone she
knew when she was a child. “And
because it touched me personally, I had
to open up and tell her everything.”
Coel describes her relationship
with her mother in loving terms. “I
mean, that’s my whole twin,” she says,
pulling up a picture of them together
outside her mom’s home in London
on her phone. The resemblance is
uncanny : the wide-set almond-
shaped eyes, the sy m-
metrical face, and those
extraordinary high cheek-
bones. I recognize Osborne
as the elegantly dressed
woman of ten pictured
next to Coel at awards
shows. For a long time,
Osborne would make the
African-print dresses Coel
wore on red carpets before
she was being dressed by
the likes of Balenciaga and
Christopher John Rogers.
“Michaela is really good
with fabric even though
she doesn’t know how to
sew herself,” says Osborne,
who learned the trade from
her own dressmaker mother. “When
the dress doesn’t fit, she knows.” She
made clothes for Coel when she was
a little girl too—as a way to connect
to their Ghanaian heritage—and she
told stories of her own childhood
in the small village where she was
raised, and the high school where
she met Coel’s father. “I didn’t think
my daughters would love Ghana
because I grew up there and left,”
says Osborne. “But when they went
themselves and fell in love with the
country, I loved it so much.”
Though separated for most of
Coel’s childhood, her parents have
an amicable relationship now, and
in recent years, the actor has gotten
closer to her father, who has moved
back to Ghana. “I started to imagine
my parents as people, not parents,
89
 and what a crazy life it must have
been to emigrate to England. Imag-
ine you’re a smart, intelligent man
like my dad, but you are just seen as
someone who cleans. You face this
glass ceiling,” she says. “And so I have
to thank him for everything he did,
because he made me who I am.”
Coel plans to build a house in her
father’s village and is toying with the
idea of buying an apartment in Accra
as well. I ask her if the vision of her
future home includes a partner. She
responds with her trademark wry
humor—the annoying thing about
having a house in rural Ghana, she
tells me, is that you will eventually
need someone to help you kill all the
creepy-crawlies, if nothing else. Then
her tone changes: “I do want a life
companion,” she says. “I love romance
and I love when romance
turns into something deeper,
a relationship where there’s
understanding, transparency,
“There’s some sort of
forgiveness, openness. But
you have to find that per- slow euphoric feeling
son, and I personally haven’t
seen many healthy men. So
I don’t know if I trust myself.
that I get when I
I’m trying to do the work. I
talk about this in therapy all skate,” she says. “Skaters
the time, and actually, per-
son by person, they’re get-
ting healthier and healthier.”
are never stressed
t’s well after dark by
or agitated. They’re on
I good vibes”
the time we’re done
with dinner, and the
already quiet beach
is empty. To Coel, though,
the night is still young. She
suggests I tag along with her to her
favorite lounge in the city where she’s
planning to meet a few friends. “You
took a nap earlier didn’t you?” she says,
ribbing me. My energy is waning, but
the invitation is tempting for two rea-
sons: Accra is known for its vibrant
nightlife, and Coel has a reputation
for her taste in music. (Some of the
songs she handpicked for the I May
Destroy You soundtrack were written
by Ghanaian artists such as Lady
Jay, a singer she met on a night out
much like this one.) “In Ghana, I like
it when I’m creating things for other
people,” she says. “That’s what I like
about making TV.”
Coel moves with relative ano-
nymity here—only occasionally
90
recognized by European and Amer-
ican transplants on the night scene—
and that suits her. She has a healthy
aversion to celebrity; up until a few
years ago, she still lived in London
with a roommate, Ash, who she met
on an apartment-sharing app. “Ash
lives in Northampton now, and I go
up there and stay at his house,” she
says. “We cook the same meals that
we used to make when we were liv-
ing together.” She balks at the mere
mention of an entourage, preferring
the meaningful exchanges that can
spring from striking up conversa-
tions with strangers instead. Her
circle is an eclectic mix of old and
new, friends she’s known since high
school and people she’s connected
with along the way. Much like
the characters she’s written, Coel
tends to be emotionally porous, not
guarded, at once fearless and fiercely
vulnerable. “Everyone talks about her
genius talent, which is true and can’t
be underestimated, but from the first
moment I met her, the thing that
impresses, inspires, and moves me
most about Michaela is the size of
her heart,” says friend and collabo-
rator Paapa Essiedu, who has known
Coel since drama school and starred
opposite her in I May Destroy You. “I
think it knows no limits, and she’s
incredibly courageous in the way she
chooses to share it.”
W hat exactly she’ ll choose to
do next is something that Coel is
not quite ready to talk about. She
had begun work on a project on
the heels of I May Destroy You in
2020 but ended up setting it aside;
something wasn’t gelling. “I couldn’t
figure out what my motivations were;
money and creating jobs are fine,
but that’s not it for me,” says Coel,
who remembers being in her office
in Central London, surrounded
by flowers and cookies sent by her
producers, and a feeling of unease
overwhelming her. “There was the
assumption that, okay, so now I May
Destroy You has happened, you’ve
got this window and you have to
capitalize on it. And when I hear
that, it sounds like the root is fear,
because the assumption is the win-
dow is going to close. And I don’t
feel comfortable making decisions
based on fear,” she says. Instead, she
did what felt right at the time: She
took a break, traveled to Iceland, one
of the few places that wasn’t in lock-
down, hired a car, found
an Airbnb, googled the
top 20 scenic places in
the country, and visited
each one.
There are revelers
spilling out onto the
sidewalk when we arrive
in Accra, and the street
is chock-full of local
taxicabs. Her cousin has
sent word via text that
the venue is packed. It
might be best for her to
go a little incognito. I
offer my bucket hat as a
disguise and she happily
accepts. As we finish
touching up our makeup
in the car, she shares a thought that’s
been on her mind lately: What if
the concept for her new show was a
woman sitting at the bar? Of course
she’d be amazing looking—huge
shades, somewhat elusive. Coel’s mis-
sion, as she sees it, is to get to know
this woman, find out her story. But
she can’t do that unless her intentions
are pure. “When I make a show, it’s
because I’ve sat at the bar. I’ve looked
across at her. I’ve let her know I’m
not going anywhere. No contracts or
money involved, it’s just me and her.
But when that’s not true, she doesn’t
come over,” she says. Right now she
has a good feeling, her head and heart
are aligning, there’s a sense of forward
motion. “It feels like she’s slowly turn-
ing her face toward me,” she tells me.
“She’s slowly opening up.” @
GOTTA MOVE
She’s an in-line skater,
runner, and, most
recently, mixed martial
arts fighter, inspired
by UFC champion
Kamaru Usman. “It’s
like physical chess,”
Coel says of the sport.
Burberry coat and
skirt. Gucci earring.
SUDDEN IMPACT
Seeing the world react
to her work is like flying
a kite. “There’s this
huge thing in the air and
maybe at one point I
was holding the string,
but now I’m just gazing
up with everybody else.”
Gucci dress. Alberta
Ferretti jacket and
pants. Chanel shoes.

T5H8PZ0
PRO DUCE D BY D EBO NA I R A FR I K STU D I OS.

92
SO LONG,
FAREWELL
Chanel cardigan,
shorts, glove, earring,
and necklaces.
In this story: hair,
Virginie Moreira;
makeup, Bernicia
Boateng. Details,
see In This Issue.
STRONG
SUIT
Thom Browne ushered in a radical revision of what tailoring could be.
Now, he tells Nathan Heller, he’ll be trying something else on for size: the
new chair of the CFDA. Photographed by Annie Leibovitz.
 hom Browne is sitting

T
in his office, waiting
for a model to appear.
Across the marble table,
a design director, Thi
Wan, sits with a thick
sheaf of sketches. They are reviewing
looks for their October show; Browne
is quietly attentive, with his glasses
riding high on his nose. It hardly bears
mentioning—and yet seems impos-
sible not to mention—that, on one
of the hottest, haziest days of New
York’s late summer, Browne is dressed
impeccably: a light gray cardigan vest
with the top two buttons fastened, a
pale seersucker tie with stripes on the
diagonal, a matching pair of pressed
shorts, and a pristine white shirt. Since
launching his distinctive line 20 years
ago, Browne has yet to be spotted in a
sub-impeccable state.
The model, Helen Henderson,
appears, wearing a pink taffeta coat
over a second, powder blue Oxford
coat with a pale green striped tie.
Wide, high-hemmed trousers hang at
garter height, below her underpants.
Browne looks closely as she turns
around, then doffs the first of her two
coats. A gentle smile of satisfaction
appears at his lips.
“I think it works,” he says at last.
One might posit that there are
two Thom Brownes, distinct yet, like
the faces of a silver dollar, somehow
joined. On one side is the designer
who has made a uniform of his unique
take on the gray American business
suit; who works in cold, clean spaces
of his own design (terrazzo floor, gray
marble hallways, venetian blinds); and
who seems to be, in manner and habit,
a model of unworldly self-control.
This is the Browne who, whenever he
visits any of the world’s great cities—
Paris, say, or Rome—stays at exactly
the same hotel and eats his meals
within it to avoid any surprises on
the plate. He’s “the worst creature of
habit,” he explains apologetically. “I
don’t have an interest in exploring.”

ÉMINENCE GRISE
Browne, photographed at home in
New York, has long loved gray of every
hue—but as his designs reveal,
his imagination works in Technicolor.
Fashion Editor: Jorden Bickham.

95
 At the moment, though, Browne confidence to Thom that is so inspir- evolve, but not to change,” Browne
is in a different state of mind. “There ing, and a self-belief that is so natural,” says. Whether through evolution,
might be a last-minute addition,” he says. “But if someone says to him, transformation, or something more
he murmurs to Wan, who looks ‘You should lower the hem of your like quiet ambition, Browne has
up sharply. This is the other Thom trouser an inch,’ he’ll raise it an inch.”) become one of the pillars of the
Browne, the one who now chuckles Browne has been known to chase fashion industry, so it’s appropri-
and wrinkles his nose in impish judg- provocation on the theory that any ate that this January will also mark
ment; the one who has designed looks strong response is better than none. “I Browne’s ascent to one of fashion’s
based on Bugs Bunny; who, in his last would rather someone really hate my most emblematic roles. He has been
men’s show, oriented the entire collec- work than them just ‘liking’ it,” he says. named the new chair of the Council
tion around tweed kilts and trousers “If you want to move things forward, of Fashion Designers of America,
hanging off jockstraps. That show, like you have to challenge people in both succeeding Tom Ford. The position—
many of his, was also a fourth-wall- positive and negative ways.” part standard-bearing, part organiza-
breaking theater piece, with a stream In his younger years, with his buzz- tional, part mentor-like—amounts to
of well-known women—Marisa Ber- cropped hair and his Clark Kent a deanship of the American fashion
enson, Anh Duong—arriving late and jawline, Browne looked like the col- industry, and for Browne, a board
making a fuss. lege athlete turned briefcase-toting member of the CFDA who partici-
Generally speaking, Browne’s col- businessman that, in a sense, he had pated in some of the first years of its
lections can be understood this way, become. (Unusually among design- CFDA/Vogue Fashion Fund and won
as a riff on a material (such as tweed) ers in growth mode, Browne owned several of its awards over the years
plus a plotline, with each look designed 100 percent of his label until 2009, (he’s now on the jury), the posting has
to represent a character. The collection when he sold a majority share to the a full-circle quality. “Thom wanted to
in progress, to be shown at the Paris Cross Company of Japan.) Now, with give something back to an organiza-
opera house, is based on Oxford cloth a salt-and-pepper gray and the gravi- tion that he has been a beneficiary of
(which, in Browne’s mind, is and a member of,” Steven Kolb,
quintessentially American and the CFDA’ s chief executive,
associated with flatness and “My design team is like, explains. “And Thom has the
tailoring) and silk taffeta (in experience and the ideas.”
Browne’s mind, quintessen- ‘Pretty is not always so bad.’ As Browne describes those
tially French and associated But I don’t want pretty! ideas, they center on emphasiz-
with volume and draping). The ing the qualities he finds unique
story line is “Cinderella”—with Sometimes I want it to be ugly. to American design. “The most
a touch of the American prom In it being ugly, it could interesting thing about American
added—in deference to the fashion is the diversity in Amer-
opera, by Jules Massenet, that be so interesting and, in a ican fashion,” he says. Michael
was performed at the venue in weird way, pretty” Kors, a longtime CFDA member,
the spring. Browne’s looks are lauds Browne’s appointment for
designed to show the major his experience “building a busi-
characters—the fairy godmother, the tas of middle-middle age—Browne ness from the ground up” and his “firm
evil stepsisters, the mice—and, because recently turned 57—his visage has a grasp on how global business is today.”
he considered the trousers-hanging- bullish, magisterial air, and it is easy (“Being empathetic to designers who
from-jockstraps of his men’s show a to imagine him as the lord of a large are at different points in their careers,
success, he’s now playing with a related manor: an image that, likewise, is not with different types of businesses, is
idea in his women’s collection: Many these days wildly untrue to life. A year key to the job, and I find Thom to be
of the looks feature skirts and trousers ago, Browne and Bolton moved to a very empathetic human being,” Kors
hung from male briefs. one of the grand old brick mansions says.) Commerce is important, in
“I want the men’s collection to be as in Sutton Place, on the East Side of Browne’s view, but this messy, crowded
feminine as possible and the women’s Manhattan, with a shared private gar- sphere of talent must also be protected
collection to be as masculine as pos- den overlooking the river. Browne’s from its smothering demands. “I want
sible, because I love the idea of men’s empire, meanwhile, has continued to to create more of a balance, so that
and women’s worlds becoming con- grow. This past July, it was announced the creativity is not sacrificed to the
nected,” Browne explains. “My design that Zegna, its current owner, was commerce,” he says. He sees himself,
team is like, ‘Pretty is not always so aiming to double the revenues of the more than ever, as a coach for the home
bad.’ But I don’t want pretty! Some- label, benchmarked at some $260 mil- team. “My overarching idea is for the
times I want it to be ugly. In it being lion last year, by 2027. In 2021, sales world to look again at New York, and
ugly, it could be so interesting and, in grew by 47 percent—the largest leap at American fashion, and to give it the
a weird way, pretty.” (Browne’s partner, in Zegna’s stable—carrying Browne credit it’s due.”
Andrew Bolton, the head curator of into a mainstream far from his origins
the Metropolitan Museum of Art’s at the industry’s fringy edge. Thom Browne is sitting in his office,
Costume Institute, describes him “I always looked at my work as liv- reflecting on his past. “I think I prob-
as “incredibly stubborn.” “There’s a ing art that kept moving forward—to ably will always be perfecting what I

96
 started 20 years ago, and that proba-
bly will go on forever, because I don’t
think I’ll ever be able to perfect it,” he
says. He is wearing a tightly tailored
gray jacket over a dark gray sweater,
a dark gray tie, a white shirt, pleated
shorts, and black brogues with no vis-
ible socks: the look on which his work
has played in ever more extravagant
variations.
“For me, the most important design-
ers over the last hundred years, when
you think of them, you have a clear
image in your head,” he says, naming
Karl Lagerfeld, Rick Owens, Miuccia
Prada, and above all Coco Chanel as
models in their lifelong elaborations
of a norm-shifting theme. “When you
create an image that people can always
identify,” Browne says, “it opens up so
many things that you can do within
that frame.”
His looks have been inspired by
everything from his childhood stuffed
animals to the sportswear that he lived
in as a young athlete. His restive, some-
times vaguely perverse fantasies—
from tunic dresses with sleeves of
various uneven lengths to stovepipe
hats paraded before an audience of

EARNING HIS STRIPES

Browne’s distinctive silhouette—sharp,
lean, and short, short, short—as seen in
Vogue in 2018 (above) and 2006 (left).

course on his work devised in consul-

tation with him; it will include guest
speakers and pieces from the Thom
Browne archive. “It’s very selective,”
Browne says with a delighted grin.)
TO P : M I KA E L JA N SSON . VOGUE , 201 8. BOTTO M : N O RMA N JEA N ROY. VOGUE , 200 6.

Browne’s siblings grew up to become

uniformed teddy bears—are often
subject to nostalgic memory. “I like to
take my past—or the past—and use
it as much as possible, but the most
important thing is that you don’t really
see the specific reference,” Browne says.
The one thing the young Browne
never dreamed of, he says, was
becoming a fashion designer. Reared
in Allentown, Pennsylvania, in the
’70s, one of the middle of seven chil-
dren, Browne swam competitively
through school before heading off to
do the same at Notre Dame. (This year,
Browne will be the artist in residence at
the university, which is also debuting a
lawyers, businesspeople, doctors, and, in
one case, a current Republican Penn-
sylvania state senator. After a flirtation
with Japanese studies, Thom majored
in business. Even then, he says, the idea
of becoming a designer, or even work-
ing creatively, had barely struck him. “I
had no creative expression,” he says.
While living in L.A. in his 20s—
trying to make it as an actor but barely
breaking into TV commercials—he
decided he wanted to dress in the old
gray-flannel-suit style but couldn’t
find the vintage suits he had in mind.
In New York, he began working with
a tailor, Rocco Ciccarelli, to make
these suits, and only later realized that
they were new C O N T I N U E D O N PA G E 1 3 2

97
ICONS ONLY
Start with a suit—and
then go to the outer
reaches of fantasy and
creativity. Longtime fans
Erykah Badu and Russell
Westbrook both wear
Thom Browne. Grooming
for Browne, Shin Arima;
barber for Westbrook,
Marcos “Reggae”
Smith; grooming for
Westbrook, Kumi Craig;
hair for Badu, Chuck
Amos; makeup for Badu,
Melanesia Hunter.
Details, see In This Issue.
SE T D ESI G N : MA RY HOWA RD ST U D IO.
MEET
THE
PRESS
REPORTERS JODI KANTOR AND MEGAN TWOHEY
OPEN UP ABOUT THEIR HARVEY WEINSTEIN
INVESTIGATION FOR THE NEW YORK TIMES, AND
HOW ART IMITATES LIFE IN A STIRRING NEW FILM.
PHOTOGRAPHED BY SUSAN MEISELAS.
 TRUTH AND
CONSEQUENCES
Kantor and Twohey
in the New York
Times newsroom.
She Said is in
theaters this month.
Hair, Kiyonori Sudo;
makeup, Karan
Franjola. Details,
see In This Issue.
Sittings Editor:
Willow Lindley.
What happens when journalists become the story? That’s the
question Vogue posed to reporters Megan Twohey, 46, and MEGAN TWOHEY: When I fielded
Jodi Kantor, 47, whose 2019 book She Said has become a new that first phone call from Jodi, I was
film, directed by Maria Schrader and starring Carey Mulligan in rough shape. The hope and joy I
and Zoe Kazan. Twohey’s and Kantor’s personal lives are on felt being pregnant had turned to
display, alongside the bravery of the victims who talked to them terrifying dread once my daugh-
about Harvey Weinstein’s sexual predation. Here, Twohey and ter was born. There’s a scene in the
Kantor take us behind the scenes of their Pulitzer Prize–winning film where Carey is sobbing to her
investigation, and its journey to the screen. husband, not quite able to articulate
what’s wrong. It plunged me back to a
day in early motherhood when I asked

T
h e fi r s t c l u e t h a t o u r
investigation into Har-
vey Weinstein might one
day turn into a film came,
oddly enough, f rom the
producer himself.
It was back in October 2017, the
day before we published our investi-
gation into his treatment of women,
and Variety had somehow gotten
word of what we were up to. The
piece revealed that our story was in
the works and quoted Weinstein pre-
tending not to know a thing about
it. He quipped, “The story sounds so
good, I want to buy the movie rights.”
At the time, the idea of a movie
sounded preposterous. We were
rewriting drafts, coaxing reluctant
sources, and struggling to force
Weinstein to respond to allegations.
We were also exhausted, subsisting
on takeout and the chocolate almonds
our editor stashed in her desk, and
could barely see beyond the strict
obligations to facts. One night, as we
shared a cab back to Brooklyn, we
wondered aloud: Would anyone even
care about what we were doing?
Five years later, the film She Said,
based on our 2019 book, depicts so
much of what we witnessed and expe-
rienced, including the takeout, that
late-night cab ride, and a few personal
truths we’ve never shared before. In
fact certain details are shown pre-
cisely as they were, down to the font
on an incriminating document one
of the victims read to us. The actors
Zoe Kazan and Carey Mulligan con-
vey emotions and moments we never
thought could be captured, and Jen-
nifer Ehle, Samantha Morton, and
other actors embody our sources’
tenacity, deep reflection, and risk.
It’s not a documentary. There are
differences, compressed chronolo-
gies, a couple of completely invented
scenes. And some of the moments
that feel like playback have nuance
now. That ’s because so much has
shifted since 2017: The #MeToo
movement has exploded, endured, and
suffered backlash. Like many work-
places, the New York Times newsroom
has been upended by the pandemic.
Harvey Weinstein is a convicted rap-
ist serving a decades-long sentence.
But the film’s focus on process and
on truth feels just as relevant now—
and it serves as a reminder of what
journalists and courageous sources
can accomplish together. It also may
reach people who have never heard
these stories before. We both have
daughters who were babies during
the investigation, and after the film’s
trailer, they each had the same ques-
tion: “Who is Harvey Weinstein?”
JODI KANTOR: Megan and I laugh
about it now—our initial perceptions
of each other. I had built my own lit-
tle world at the paper, and she was
new, arriving from Reuters in 2016. I
noticed her because she broke some of
the first sexual misconduct allegations
against Trump while pregnant.
I had been through contentious sto-
ries during pregnancy too (an Amazon
investigation, published when I was
38 weeks). Reporters usually keep the
focus on our work, and we don’t want
to complain. But I knew that feeling of
trying to hold the story with one arm,
a new life with the other.
So I brought a bag of maternity
clothes to the office for Megan, hand-
me-downs from a group of Times col-
leagues. She left the bag untouched at
her desk. I was like, Who doesn’t take
the clothes? There was something a lit-
tle guarded about her, a little reticent.
Early in the Weinstein investiga-
tion, I called her for advice. Movie
stars were confiding in me, sharing
upsetting stories—but also saying that
coming forward would be unlikely,
maybe unthinkable. So I was holding
terrible secrets, and a dawning sense
of how big this was, with no path to
making any of it public.
my husband to come home from work
because I felt too shaky and scared to
be alone with the baby.
Jodi helped me bear the load. She’d
suffered postpartum depression a
decade before, and gave me the name
of the doctor who had treated her. In
return I offered her the phrase I had
used before, a reporter’s attempt to
give courage to victims: I can’t change
what happened to you in the past, but if
we work together, we may be able to use
your experience to help other people.
The call helped me realize how
much I needed to go back to work,
how I needed that sense of self. In
the film, there’s something about the
way Carey yanks open the door to the
newsroom on her first day back from
maternity leave that captures exactly
how I felt.
But I admit I was skeptical of Jodi’s
investigation. A lot of my reporting
had focused on women and children
on the margins of society who are
ignored or overlooked. The plight
of famous actresses like Ashley Judd
and Gwyneth Paltrow didn’t feel as
urgent—and I wasn’t sure what Wein-
stein’s pattern of behavior amounted to.
I also wasn’t sure what to make
of Jodi, who wore girly dresses and
talked a lot more than I did. But
I knew she had a track record: In
response to that 2015 examination of
Amazon, the company had granted
paternity leave to its entire workforce.
And soon all her talk made an impres-
sion on me. I saw that her reporting
had promise.
JK: Megan knew about investigat-
ing sex crimes; I had delved into the
workplaces of powerful companies.
We would spend an hour polish-
ing a text message to a source. The
film shows how we became glued
together—how we began to finish
each other’s sentences. We shared
everything: I had won Gwyneth Pal-
trow’s trust on the phone, but when

102
 the time came to visit her in the
Hamptons, I wanted Megan along,
to hear the unfamiliar sound of a
star speaking with complete candor.
On the drive back to the city, we
shared a junk food binge and our own
dead-honest observations about the
Times, marriage, motherhood.
Have you ever met a woman you
assumed was different from you, then
realized you had a common core?
That was us.
Also, I had been wrong about
Megan’s reticence. Let’s just say the
woman has a talent for confrontation.
P HOTOG RA P HE D BY SUSA N M EI SE LAS O F M AG NU M P HOTOS.
There’s a moment in the film when
she tells off a drunk man at a bar. It
doesn’t matter that the scene is fiction.
As I came to learn, she’d done that
before—even more forcefully.
MT: The pandemic has, for the
moment, hollowed out the physical
newsroom of the Times, but the office
comes roaring back to life onscreen.
You see not only the bustling cubicles,
coffee-machine banter, and beautiful
view from the cafeteria, but also cama-
raderie that is impossible over Zoom.
GETTING THE STORY
Carey Mulligan and Zoe Kazan as
Twohey and Kantor in She Said.
Watching the film made me realize
how physical our bonds were during
the investigation. In some of the
moments in which Zoe and Carey
square off against Weinstein and his
team, they are physically surrounded
by their editors. I remembered how
empowering and poignant it was to
have our bosses—Dean Baquet, Matt
Purdy, our editor Rebecca Corbett—
literally at our backs.
At one point, Jodi and I were on
the phone with a Weinstein lawyer
who was obfuscating on his behalf.
Furious, Dean grabbed the phone
from my hands and barked into the
speaker: “Cut the shit.” After Ashley
Judd called Jodi to say she would go
on the record, Jodi broke down crying
in front of us. When I ran through the
newsroom to tell Rebecca that I had
confirmed the number of settlements
Weinstein paid to silence victims, she
sprang from her desk and threw her
arms around me.
Several months ago, Dean retired as
executive editor, and much of the staff
returned to see him off. It looked like
the old newsroom, colleagues crowded
together—and it felt like another
moment to take stock of all that was
lost to the pandemic. I had to slip into
the bathroom to hide my tears.
JK: The film’s portrayal of the victims
is not about replaying stories of abuse,
but showing these women as individ-
uals working through a choice—they
didn’t do anything to cause the pre-
dation, so why was it on them to risk
helping us?
Take Zelda Perkins—she’s a force,
a former Weinstein assistant who
spent decades prohibited by a heavy-
handed legal agreement from telling
her story. In those years of enforced
silence, she gained a remarkable abil-
ity to look beyond herself. From the
first moment I called Zelda, startling
her on her work phone, she placed
responsibility on our shoulders: This
isn’t just about Weinstein, she said.
You have to blow open the entire legal,
financial, and C O N T I N U E D O N PA G E 1 3 4
103
PORTRAIT OF THE
ARTISTS
Jeremy Pope and
Paul Bettany play
Jean-Michel Basquiat
and Andy Warhol
in The Collaboration,
which opens at
the Samuel J.
Friedman Theatre
on December 20.
Sittings Editor:
Max Ortega.
The Odd Couple
After a hit run in London, The Collaboration is putting Andy
Warhol and Jean-Michel Basquiat on Broadway. Costars
(and fast friends) Paul Bettany and Jeremy Pope paint us a picture.
By Marley Marius. Photographed by Tess Ayano.
 he posters framed it as a fight; a challenge
T
between two heavyweights. At left was
Andy Warhol, wearing shiny Everlast box-
ing gloves, shorts, a black turtleneck, and a
vaguely haunted look on his face—he was,
by then, a frail 56—his arms crossed like
Tutankhamen’s. At his side was Jean-Michel Basquiat,
shirtless, impassive, and not yet 25, in the same gloves,
shorts, and stance. In other imagery, their gloves are raised,
or Warhol (softly) lands a blow on Basquiat’s jaw. It was
1985, and paintings from a collaboration between the two
artists—orchestrated by Swiss art dealer Bruno Bischof-
berger, who formally introduced them in 1982—were
headed to Tony Shafrazi’s gallery on Mercer Street.
The critical response to their project was not warm.
When, the year before, paintings that Warhol, Basquiat,
and Italian artist Francesco Clemente worked on together
were shown in Zurich, Artforum deemed them “disap-
pointing…Basquiat’s scribbles, Clemente’s sensuous
figures and faces, and Warhol’s silkscreen techniques all
display visual brilliance, but rarely do they engage in any
real dialogue”; and after the Shafrazi show opened in Sep-
tember, The New York Times called its 16 untitled canvases
“large, bright, messy, full of private jokes and inconclusive.”
(The insinuation, in the same review, that Basquiat had
become a feckless “art world mascot” proved especially
hurtful; he broke ties with Warhol not long afterward.)
In the end it was less a creative showdown, pitting Pop
art’s studied flatness against the barely controlled chaos of
neo-expressionism, than the creation, at least for a while,
of an unlikely friendship. That’s the subject of The Collab-
oration, Anthony McCarten’s absorbing new play starring
Paul Bettany and Jeremy Pope and directed by Kwame
Kwei-Armah. After a buzzy run at London’s Young Vic
(where Kwei-Armah is the artistic director), it begins
previews at New York’s Samuel J. Friedman Theatre this
November; a film adaptation with the same main cast,
director, and writer is also in progress.
The Collaboration is the second entry in what McCarten
calls his “Worship Trilogy,” focused on stories about
“two people who occupy the same métier but who have,
often, diametrically opposed positions.” His first was
Bettany calls The Collaboration a play “about two people, with seemingly no
common ground at all, finding common ground and kind of falling in love”
The Pope, about Popes Francis and Benedict XVI (later
adapted into Fernando Meirelles’s Oscar-nominated film
The Two Popes); the next will be a project about Warren
Buffett and Bill Gates. In each work, the dialogue that
emerges is the point. “Here was a master in his 50s who
had done everything and was right at the top, and here was
a young, brilliant new prince about to be crowned king,”
says Kwei-Armah of Warhol and Basquiat, The Collabora-
tion’s two poles, “and there is something about them both
looking at each other and seeing a bit of themselves in
the other person.” Bettany, who will make his Broadway
debut at “the blushing age of 51” with this production, calls
The Collaboration a play “about two people, with seemingly
106
no common ground at all, finding common
ground and kind of falling in love.”
It’s also about fame, race, addiction, police
brutality, and, of course, art—what it’s for,
who it’s for—spending most of its time
in either Warhol’s Factory, or at the loft he
loaned to Basquiat on Great Jones Street.
Fear is in there, too, at least on Warhol’s end;
he hadn’t put paintbrush to canvas in about 20
years when he began working with Basquiat.
Bettany, who has been a mainstay of the
Marvel Cinematic Universe since 2008,
lately as the superhero Vision, could under-
stand the feeling: Before the play opened at
the Young Vic in February, he hadn’t been
onstage since 1998. Yet his queasiness about
portraying Warhol had other underpinnings.
“A dear old friend of mine, Denis O’Sulli-
van, a producer, he called me up and he said,
‘Do you wanna play Andy Warhol?’ And I
said, ‘Absolutely not,’ ” Bettany recalls, his
lanky frame folded into an armchair at New
York’s Lowell Hotel. He had long admired
the artist’s work, but was put off by the per-
sona. “I didn’t know if I could get out from
underneath the wig and the glasses and the
monosyllabic thing.”
Pope, 30, who also leads a new film this
fall, Elegance Bratton’s military drama The
Inspection, had his own reservations. After
an extraordinary year on Broadway in 2019,
when he starred in both Choir Boy and Ain’t
Too Proud: The Life and Times of The Temptations (earn-
ing Tony nods for both), he wanted to pick his next show
carefully. “I read the script, and there were a lot of beautiful
things, but I had questions,” he tells me. We’re in a quiet
corner of the Civilian Hotel in the Theater District—two
minutes from the Friedman—where the afternoon light
makes his eyes flash amber. “I wanted to know how they
were going to interpret telling these two stories.”
But something broke open once the actors, Kwei-
Armah, and McCarten were all in the same room, looking
over the material. “I’ve gotta tell you, we had a four-way
affair,” Kwei-Armah says. “I have seldom worked with
actors that intelligent; I have seldom worked with people
who work as hard as they do. The four of us just dived into
the script and discussed the ideas, and literally the play was
reborn through us.”
Bettany, who was familiar with the context—he had
seen some of the paintings that Warhol and Basquiat made
together at a Whitney show in 2019 (“Andy Warhol—
From A to B and Back Again,” which McCarten saw,
too)—got a handle on Warhol’s voice through his diaries,
which also informed the script. “They were basically him
downloading his night before to Pat Hackett, his assistant,
 with the clanging emotionali-
ty of Basquiat’s canvas—there
was, as Pope puts it, a “one-way
channel from his heart, mind,
and soul” to his paintings—
both were strangers in a strange
land: Warhol, as a queer son
of Eastern European immi-
grants burdened by Catholic
guilt; Basquiat, as an art-world
phenom who was also a young
Black man. (In the play’s back
half, Basquiat confronts the fa-
tal beating of his friend Michael
Stewart, another Black graffiti
artist, by New York transit police
officers in 1983.)
Both Pope and Bettany credit
McCarten, and Kwei-Armah—
himself a playwright and an
actor—for letting them find
their own ways into the piece.
Early on, McCarten was con-
stantly rewriting scenes as new
ideas took off in the room, and
Kwei-Armah gave his company
not notes but “observations.”
“I think Kwame is one of the
most gifted individuals I’ve ever
worked with,” Pope says. “He
allows space for you to explore
and to play and feel safe.” Bet-
DIFFERENT STROKES tany lights up describing Kwei-Armah’s magnetism. “I was
Pope and Bettany onstage at the Young Vic in London. getting changed, and I left my wife”—the actor Jennifer
In this story: hair, Charlie Le Mindu; grooming for Pope, Jai Williams; Connelly—“with him for five minutes, and later she went,
grooming for Bettany, Amy Komorowski for Circa 1970 Beauty;
special-effects makeup, Elizabeth Yoon. Details, see In This Issue.
‘Oh, my God, I think I just fell in love.’ I said, ‘Oh, you’ve
been Kwame’d.’”
The chemistry between Bettany and Pope was another
and he speaks in these long, circuitous sentences…nothing happy surprise. Unlike Warhol and Basquiat’s yin-and-
like the sort of monosyllabic public persona,” Bettany says. yang thing, the actors are more like two sides of the same
“He sounded more like Truman Capote—the diaries are coin. “From day one, I loved that man so deeply,” Pope says
deliciously witty and bitchy at times.” of Bettany. “There’s nothing like working with someone
Pope had a similar wall to climb with Basquiat, whose onstage who is generous—they make every scene about you,
legend—from the crazy locs to his early death from a her- and in return, you make it about them.” “Working with Jer-
P HOTOG RA P HE D BY M A RC B REN N ER /COU RT ESY OF T H E COL L ABO RATI ON.

oin overdose in 1988—loomed large. But as Pope went emy has been like flying in your dreams,” Bettany says, with-
P RODUC E D BY A RT P RO DUCTI O N . S ET D ESI G N : M I LA TAYLO R-YOU NG.

through the text, he felt a powerful affinity form. “There
is the commercialized idea of who Basquiat is; you see his
prints, and his artwork on Converse,” he says. “But diving
into who he was just as a human, outside of his artistry,
and how he navigated the late ’80s in New York City as
a Black artist—a lot of those things felt very parallel to
my experience, where you’re just trying to take space in a
predominantly white industry. How do you make strides?
How do you get attention? How do you stay authentic and
true to yourself?”
“There’s something really conflicted about Basquiat,” Bet-
tany says. “We think of him as this homeless graffiti artist
who exclusively does graffiti in SoHo, the center of the art
world; and Andy seems so alien, you feel he’s never going
to fit in. And suddenly, these two are together.” If Warhol’s
fixation on banality and ubiquity in his art had little to do
out a hint of irony. “I was kind of terrified the whole way
through rehearsals…but I just had this moment of thinking,
None of this fear is helping me. I’ve got this great scene part-
ner with whom I do 90 percent of the stuff onstage.”
Like the canvases that Warhol and Basquiat painted
together, layering words and figures over logos for Para-
mount or General Electric, The Collaboration is, itself, a
labor of love—and as its run on Broadway nears, the work is
ongoing. “We can’t walk into New York with a level of com-
placency, just because it was a hit in London,” Kwei-Armah
says. “We’re building it new, and I’m every bit as anxious
and every bit as focused on making it the best we can.” So,
too, are the actors—although they look at their chief task a
little differently. As they shook off their nerves before the
first preview in London, Bettany remembers, Pope laid out
a credo that still stands: “He just went, ‘Only for the fun.’” @

107
 Just One
Thing
More than any other piece, a coat can truly
go the distance—it’s outerwear for everywhere, as
model Abby Champion and her Max Mara
Teddy Coat prove. Photographed by Sean Thomas.

108
 THE PROVEN PATH
Max Mara’s woven
camel-hair-and-silk
Teddy Coat (maxmara
.com), first launched
in 2013, is back and
looking more cozy-
chic than ever—here,
Champion throws
it over a long flowing
dress and boots
by Chloé; chloe.com.
Fashion Editor:
Jorden Bickham.
LOCAT I O N : GR E EN PO RT CON S ERVAT I O N AR E A , N Y.

109
 PUT A PIN ON IT
Make your outerwear
pop with a pin—or two.
Champion adorns
her lapel with Lizzie
Fortunato and Prounis
brooches—and adds a
bit of punch to her
Tory Burch two-piece
set (toryburch.com)
with Tiffany & Co.
pendants and Brother
Vellies heeled oxfords.

LOCAT I O N : T HE S EC RE T GA RD E NE R , HU DSO N , N Y.

110
 SHAKE IT ON
With a fabrication so
indulgently plush it’s
likened to—well, a teddy
bear—it’s no wonder
Champion kept her
coat on indoors. Shirt by
The Row; therow.com.
LOCATI ON : W EST TAG HKA N I C D I N ER, HU DSO N, N Y.
 A L L PRO DUCTS F E AT U RE D IN VOGU E A RE I N D E PE N DE N T LY S EL ECT E D
BY OUR E D I TO RS. HOW EV ER , W HE N YOU BUY SO M E TH I NG T HROUG H
OU R RE TA I L L IN KS, VOGU E MAY E A RN AN A F FI L IAT E CO M MI SS I O N.

UP IN THE AIR
Amp up the texture
with a woolly plaid
Gucci kilt and shirt
(gucci.com) and
a perfectly striped
pullover by Khaite
(khaite.com). A bag
from The Row
elevates the entire
look. In this story:
hair, Mustafa Yanaz;
makeup, Romy Scan to
Soleimani. Details, see more from
see In This Issue. this story.
 P RODUC E D BY A N NA PA N OVA FO R D I RTY P RET T Y P RODUCTI O N S.
E XECUT I V E P RODUC ER: MAT E EN M ORTA ZAV I . LO CAT IO N : R I V E RTOW N LO D G E , HU DSO N , N Y.

113
WHISTLE WHILE
YOU WORK
Model Achenrin Madit
sounds off in a Nike
headband (nike.com)
and cheery green
Bottega Veneta
sunglasses. Tiffany &
Co. necklace. Coach
whistle earring.
Fashion Editor:
Gabriella
Karefa-Johnson.
 PLAY
ON!
THE SPORTING LIFE
GETS GLAMOROUS
AS KEY PIECES FROM
THE COURT TO THE
TRACK ARE SHARPLY
REINTERPRETED
FOR DAYTIME. LET THE
GAMES BEGIN.
PHOTOGRAPHED BY
CAMPBELL ADDY.

FINE LINES
Make like model
Maty Fall and show
off your racing stripes
from Balenciaga’s
collaboration with
Adidas. Balenciaga/
Adidas T-shirt
and parka as skirt, and
Balenciaga boots;
all at balenciaga.com.
Adidas customized
by Matty Bovan
yellow jacket;
mattybovan.com.
 #GOALS
It’s up…and it’s
good! Model Akon
Changkou goes
long in an Adidas x
Gucci corset,
dress, and bonnet;
gucci.com.
BOTH SIDES NOW
A deft bit of layering
lends an already-playful
evening look some
extra muscle. Model
Nyagua Ruea wears
a Valentino gown;
Valentino boutiques.
Tory Burch jacket and
top; toryburch.com.

117
 GAME, SET, MATCH
Changkou serves up
a winning combination
in her silky Tom Ford
hoodie and skirt;
tomford.com. Nike
top and shorts; nike
.com. Necklaces
from Chrome Hearts
and Jack Vartanian.
Versace shoes.
118
 PITCH PERFECT
With an assist from
choreographer
Abdourahman Njie,
Fall kicks things up a
notch in her Puma x
Dua Lipa tee (puma
.com) and Loewe
shorts (loewe.com)—
while Ruea gets in on
the action in a Puma x
Dua Lipa jacket and
shorts (puma.com)
and Prada skirt (prada
.com). Both wear
W Nike Premier/
CDG shoes.
 FANCY FOOTWORK
How’s this for changing
the game? Ruea moves
and grooves in a sherbet-
colored Roksanda dress
and hood; roksanda
.com. Roksanda x Fila
bag; fila.co.uk. Balmain
boots. Ear cuff from
Paula Mendoza Jewelry.

120
PLAYING THE FIELD
Clear eyes, full hearts,
Fall’s rugby-inspired Louis
Vuitton polo T-shirt and
fanciful floor-length dress
(select Louis Vuitton
boutiques) can’t lose.
Tiffany & Co. earrings.
 ON THE DOUBLE
It’s no secret that the
world of athleisure
has evolved leaps and
bounds in recent
years. Madit proves as
much in a Burberry
jacket and matching
skirt (us.burberry.com)
with Versace shoes,
while Fall spreads the
good word in a Rokh
jacket (shopbop.com)
and Balenciaga boots.
PHOTO FINISH
Madit wears a Miu Miu
knit, tops, skirt, briefs,
and belt. Christian
Louboutin shoes.

123
 MADE YOU LOOK
Let’s put it this way:
Ruea doesn’t need
much warming up in
her body-conscious
Versace top (versace
.com) and high-waisted—
and high-visibility—
Paco Rabanne shorts
(pacorabanne.com).
124
BEST PRACTICE
A few reps (and a little
vamping) later, Ruea
cools down again in a
cozy matched set from
Diesel; diesel.com.
Adidas x Gucci shoes.
LET’S GET LIVE
Fall roots, roots,
roots for the home
team—and makes
a persuasive case for
monochromatism—
in a Jean Paul Gaultier
Haute Couture
by Olivier Rousteing
jumpsuit; 325 Rue
Saint Martin, Paris.
beauty note
Go for gold. Revlon’s
So Fierce! Prismatic
Eye Shadow Palette in
966 The Big Bang
features high-impact
metallic pigments in
a powder-to-gel formula
for a winning payoff.
 POLE POSITION
What’s black and white
and red all over? Why,
a chic Ralph Lauren
Collection column dress
(ralphlauren.com)
and cropped Versace
puffer (versace.com),
of course! In this story:
hair, Issac Poleon;
makeup, Chiao-Li Hsu.
Details, see In This Issue.
SE T D ESI G N : IB BY N J OYA . M OV E M E NT: YAGA M OTO.
PRO DUCE D BY JA N UA RY PRODUCT I ON S.

127
 2

11

5
6

Away We Go!

PHOTO G RAPH ED BY ALASDAI R MCLELLAN , VO GUE, J UN E 2019.

Gone leaf peeping? Outfit your
weekend jaunt with neat knits and

PRO DUCTS: COURTESY OF BRAN DS/WEBSI TES.

10

128 NOVEMBER 2022 VOGUE.COM

 13

1. BARBOUR X CHLOÉ DUSTYN JACKET,

$2,265; CHLOÉ BOUTIQUES. 2. JEANETTE
FARRIER QUILT, $725; JOHNDERIAN.COM.
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STRONG, $28; AMAZON.COM. 16. ISABEL
MARANT BAG, $1,090; SAKSFIFTHAVENUE.COM.
SHOP THE ISSUE ONLINE
AT VOGUE.COM/SHOPPING

129
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 QUEEN ELIZABETH II,
1926–2022
CONTINUED FROM PAGE 47
the marriage of her elder brother, then
the Prince of Wales, to winsome Lady
Diana Spencer, and in turn the mar-
riages of their sons Prince William and
Prince Harry to Catherine Middleton
and Meghan Markle, respectively.
The queen was a beloved mother,
grandmother, and great-grandmother,
and in his first address as sovereign,
her son King Charles III acknowl-
edged “the most heartfelt debt any
family can owe to their mother; for
her love, affection, guidance, under-
standing, and example.”
But above all, she was the mon-
arch. To celebrate the queen’s silver
jubilee in the May 1977 issue, Vogue
ran a portrait by Andy Warhol and
commissioned the 84-year-old writer
Rebecca West to consider that reign.
“She is,” West opined of Her Majesty,
“one-third a constitutional monarch,
one-third a myth, one-third a woman.”
“I have in sincerity pledged myself
to your service,” the queen avowed
in a broadcast on the day of her cor-
onation, “throughout all my life and
with all my heart I shall strive to be
worthy of your trust,” and the solemn
compact that she made then with her
people, she stayed true to through
eight decades. Two days before she
died, the queen was performing offi-
cial duties, appointing Britain’s new
prime minister—the 15th of her reign.
“What has to be the extent of her ded-
ication only she knows,” wrote Eliz-
abeth Bowen in 1953. “How dare we
compute the weight of the crown?” @
OUT OF THE DARK
CONTINUED FROM PAGE 52
of an apartment. I had no idea where
I was.
“He removed the blindfold only
when I was inside. The room was small
and anonymous; a fluorescent light on
the ceiling buzzed. Several women
were seated on salmon-colored plastic
chairs. One by one, they disappeared
into a room and after a time walked
out, looking white and shaken. I was
the last to be called. A man in a white
jacket, who spoke no English, offered
me a Darvon, a mild painkiller. I got
on the table, and the excruciating pro-
cedure began.
“Then, the man who’d driven me
blindfolded me again, and left me in
front of the Bronx theater.”
132 NOVEMBER 2022 VOGUE.COM
I know I have to say something
that is in the air, but unspoken. “If
you had money, you could go to
England, or Mexico, or get a doctor
to say you were suicidal. If you didn’t,
you risked your life.”
Everyone is silent. People hug, and
there are tears, but the group leader
was right: We are energized for the
fight, however long it takes. Talking
about it has made what we had gone
through seem more normal; we were
given strength, knowing that what
had happened to us had happened
to many, many women—women we
admired, loved, mourned.
Two years later, Roe v. Wade was
passed, and we believed that we had
won the fight. We knew a majority
of Americans were with us. We were
unprepared for the relentlessness of
the antiabortion movement, and for
the money behind them. We didn’t
expect that evangelicals, who at first
were not important to the movement
(even Billy Graham refused to join
antiabortion activists in their cam-
paign), would align with Catholics
in hijacking American religion in the
name of a minority belief.
We were unprepared for the weak-
ness of our democracy.
And we were unprepared for the
murder of doctors, the bombing of
abortion clinics. We were unpre-
pared for a fear that our beliefs could
bring danger to us and to the people
we loved.
I often think of that small, wiry
group leader. She was right that
talking about abortion takes it out of
the scary dark. It has occurred to me
that one reason that gay rights and
gay marriage became mainstream
was because courageous people came
out and spoke about the truth of their
lives. You realized that Uncle Jim
wasn’t just a confirmed bachelor, that
Cousin Sarah’s roommate Bess was
more than just a roommate.
As a mother, mother-in-law,
godmother, and retired teacher of
beloved students, I am enormously
distressed to realize that the dangers
I had thought were past are still a
present fear. And that it is no easier
to “come out” about having had an
abortion than it was 50 years ago.
Harder, perhaps, because America is
a more violent country than it was
50 years ago, and many more Amer-
icans are armed with ever more dan-
gerous weapons.
One in four American women has
had an abortion, and for nearly half
a century they have done so safely.
Women have always had abortions
for very good reasons, and they have
often died in the process. The specta-
cle of thousands of deaths must spur
people of goodwill, people who value
life to stand together.
And tell our stories. Like the women
in the room. @
STRONG SUIT
CONTINUED FROM PAGE 97
rather than old: The perfect vintage
suit he had been chasing was an image
he’d invented. It marked the moment
when his imagination turned inward;
he began taking cues from his inner
fantasy life.
Browne’s first major innovation was
in the proportions. His suit jackets
were startlingly short, with shoulders
that—rather than being constructed
in the English style, or straight and
boxy in the American ’90s way—
were snug and largely unconstructed,
as if extending from the armholes
of a vest. “I remember Savile Row
being appalled by it,” says Bolton,
who bought his first Browne suit not
long after moving to New York from
London. By then, Browne had used
$100,000 raised from his siblings to
set up an appointment-only shop on
West 12th Street; Bolton got cold
feet on the approach. “It was such an
unwelcoming exterior—deliberately
so—that I lost courage and bought
the suit from a much jollier tailor at
Bergdorf Goodman,” he says. “I’d
been seduced by the images Thom
was putting out at the time. He was
very savvy in placing his suits on par-
ticular people around town, and they
were very noticeable. You’d see them,
you know, in Pastis or at Soho House.”
What everybody noticed first about
Browne’s suits—or, rather, about the
people wearing them—was ankles.
Browne cut his trousers high and
urged men to wear them without
socks. “I felt very, very self-conscious
when I first wore the suit, because of
the ankle—it’s amazing how people
would say something in the street or
stop and stare and laugh in airports,”
Bolton recalls. “To play with those
proportions was shocking.”
“I had f riends say, ‘Thom, why
would I want it? It doesn’t even
look like it fits you,’ ” Browne recalls.
But he held his line. Several early
customers describe buying a Thom
Browne garment as a process of sub-
mitting to his control.
“I remember going in and seeing
a rack of these gray suits and going,
‘These are cool—is there any way
we could make the legs longer? And
can I get this in black or navy blue?’
And Thom goes, ‘No—and no,’” says
Jimmy Fallon, who started buying
Browne’s suits in the early 2000s
when he was a cast member at Satur-
day Night Live. “The first time I wore
it, people were like, ‘Wow—where’s
the flood?’ ” What Browne had real-
ized by then was that offering a gray
suit that many people found prepos-
terous was much better than offering
just another well-tailored gray suit:
What was distinctive could, in time
and by the laws of fashion, stir desire.
That public skepticism now
seems long ago. Over the years, the
Browne collections grew: Womens-
wear launched in 2011 (within two
years, Browne had dressed Michelle
Obama for her second inauguration),
and menswear expanded far beyond
the suit. Today there are sporty car-
digans and polo shirts with the sig-
nature quadruple stripe on the left
sleeve. There’s knitwear, swimwear,
athleticwear, loungewear, and—for
want of a more precise term—wry
preppy wear. (A recent collection
featured a lobster print on various
styles of cotton and wool.) There’s a
natty, much-coveted childrenswear
collection, for the rising generation
of Browneans. Along the way, the
allegiance of Browne’s customers
has assumed a cultlike quality, the
cultishness not minimized by the
uniformity of what they wear.
Browne describes himself as ambiv-
alent about dressing celebrities—
“It depends on who it is”—but does
it often, across an electric range of
personalities and styles: His posse at
last year’s Met Gala alone included
Fallon, Erykah Badu, Pete Davidson,
Lee Pace, Michaela Jaé Rodriguez,
Amandla Stenberg, and Lil Uzi Vert;
this year’s roster included Lakers star
Russell Westbrook, who wore a top
hat, a gold chain, black-and-white-
striped socks, and white-tie kit with
a long black pleated skirt. “The skirt
is unique in that a lot of people don’t
like to wear it,” says Westbrook,
who has taken to wearing Browne
skirts off the court. “And for me,
because of my length and my height,
it just works well.” The top hat and
the chain, he says, were additions
of his own. (And while Westbrook
has become one of Browne’s most
consistent champions in the NBA,
he is not the only one—in 2018,
LeBron James led the entire Cleve-
land Cavaliers team during the NBA
playoffs in coordinated gray Thom
Browne suits.)
Badu understands Browne’s atten-
tion to uniformity and consistency
as being ironic and thus liberating:
By calling out the constraints, she
thinks, his work invites the imagina-
tion to break free. “When everything
is going too smoothly, you want to
deviate from that—to me, that is his
whole aesthetic.” It was Browne who
designed Badu’s divine all-white look
for the Soul Train Awards in 2017—a
long white suit-dress trimmed with
great clouds of frayed fabric, white
boots, and big white stovepipe hat
topped with a brass-colored metallic
sculpture of her own. For the 2021
Met Gala, he put her in black: a down
stole, a twill jacket and suspender
skirt, and lace-up patent- leather
boots. A black hat, a Browne-tricolor
headband, and a sausage-like leather
bag in the form of Browne’s pet
dachshund, Hector, finished the out-
fit. The look was both elegant and
ominous, gloriously and unsettlingly
exaggerated, as in a dream.
Thom Browne is standing in his new
house, admiring the fruits of a lengthy
renovation. “I’ve known about this
house ever since I’ve lived in New
York,” he says, gazing at the beautiful
black-and-white-checkered marble
floor of the atrium, on which sits, atop
a pedestal table, a statue of Diana draw-
ing back her bow which mirrors one
that used to sit over Madison Square
Garden. The house was designed by
Mott Schmidt and built for the heir-
ess Anne Vanderbilt, in 1920. Browne
and Bolton bought it three years ago,
then spent two years renovating it
under the guidance of their friend the
interior designer David Kleinberg—
a pandemic project that Browne,
unusually for people undertaking ren-
ovations, says he enormously enjoyed.
I ask what was redone. “Everything,”
he says. Behind him, Hector is run-
ning in tight circles, chasing his tail.
The Sutton Place house has dark
brown herringbone floors, tall win-
dows (with venetian blinds, of course),
and a selection of furniture reaching
back to the 18th century. To one side
of the entry hall is a sitting room; to
the other is a dining room fitted with
gilded mirrors, which extends to a
patio and then the garden. Browne
opens the door, and Hector runs
out merrily, then pauses in apparent
self-restraint: Dogs are not allowed
to tread the pristinely mowed, bright
green lawn, so he satisfies himself
with the paved edge. Inside, some
antique silver (a gift from Bolton) is
set on an antique inlaid side table. An
elegant hearth (Bolton and Brown
imported fireplaces from England) is
topped by an ornate mirror. Opposite
the entryway, a vast and glorious spiral
staircase ascends, covered by a stripe
of black carpet up the middle.
Upstairs, Browne—an architecture
nut with a particular taste for midcen-
tury and Georgian design—wanders
through the main sitting room and a
study in a masculine style (black mar-
ble hearth, black carpet, midcentury
black leather chairs), all of it perfectly
and pristinely arranged. Hector has
discreetly gone to a corner to chase
his tail once more.
Browne and Bolton describe them-
selves as having a domestic life that
is both simple and preternaturally
placid. “Thom is the calmest person
I’ve ever come across,” Bolton says,
“and there’s a specific, soft cadence
to our lives.” They rise early to exer-
cise. (Browne runs; Bolton cycles.)
Browne breakfasts at Sant Ambroeus,
an upscale café chain, and then heads
to his offices in a nondescript build-
ing on a loud, crowded block of West
35th Street, beside a lunch buffet and
opposite a fabric store. At the end of
the day they converge at home, have a
drink, and try to relax. “We live a very
boring life,” Browne says. According
to Bolton, Browne’s two great non-
athletic hobbies are scrolling through
StreetEasy, the real estate listing
website, and being a “CNN addict.”
When they’re out, they sometimes go
to shows on Broadway. (“Funny Girl is
great,” Browne says. He also liked The
Lion King: “The entrance? Is amaz-
ing.”) More often, though, they’re in,
and dining together; neither of them
cooks much. “We have mastered cav-
iar delivery,” Browne says. “The pan-
demic taught us how.”
It wasn’t always thus. In 2009, when
the economic crash struck the luxury
retail sector, Browne’s label was “days
133
 away” from going under. “There were
a lot of business people who suggested
that I go out of business and start
over,” he recalls. “I just told them that
there’s no way I could do this again.
There was so much emotion and work
that went into those first eight years.”
Instead, he sold a majority share to the
Cross Company, which sold to Sand-
bridge Capital, which in turn sold,
in 2018, to Zegna, which now holds
85 percent.
This decade, Browne’s business
challenges are different. In order to
meet his half-billion-dollar retail
targets by 2027, he is opening a new
round of shops, starting with his first
French outpost, in St. Tropez. (It spe-
cializes in tennis wear.) And after a
couple seasons of showing abroad, his
label is coming home: His fall-winter
2023 show next February will take
place in New York.
Thom Browne is sitting in his office,
studying the garments he has designed
for one of Cinderella’s impeccable
mice: a short, blooming fuchsia taffeta
coat with a French bow in back, worn
over a hooded bodysuit of white tulle
strung with elastic to create a matrix
of squares. He is quick to cast him-
self as an outsider. “I don’t know that
much about fashion, and I consciously
don’t want to know that much about
fashion—I was never really schooled
in it, and I didn’t grow up surrounded
by it,” he says. “I’m more of an instinc-
tual designer—I create things that are
interesting to me.”
Browne and Wan, the design
director, head into the next room,
where exactly 102 swatches and
some sketches for the collection are
mounted on boards against the wall.
Many designers generate lots of ideas
and edit many away to hone the col-
lection to its strongest core. That’s not
Browne’s style. “These will all be in the
show,” he says. At the start, he creates a
fixed number of basic looks and iterates
them into a fixed number of variations.
Design, from there, is about refining
the details. His working sensibility
is, in this respect, quite academic—it
shares more with a LeWitt sequence
than a Brancusi bronze.
And so the looks before him
become ever more colorful, ever more
whimsical, ever further from the tight,
controlled profile of the gray suit. To
see them is to have a sense of Browne’s
own aspect—his perfect tie, his primly
buttoned cardigan—loosen and, with
a boom, explode outward.
As his retinue of designers stand
behind him, all dressed in iterations
of the uniform, he walks slowly
around the room, peering at sketches
and feeling swatches with growing
delight. He offers notes; he trades
ideas about the theater of the runway.
When the fashion figures—Berenson,
Duong, et al.—pretended to come
late to his summer show, he says, he
was thrilled, even moved; it opened
his mind and his heart. “What they
did was even better than I thought,”
he says. “They brought a really nice
life to it that”—he offers a big, won-
dering grin—“I just didn’t expect.” @
MEET THE PRESS
CONTINUED FROM PAGE 103
cultural system constructed to keep
women silent.
She’s played by Samantha Morton
in the film, which depicts an actual
meeting in a London restaurant
when Zelda again delivered that
charge. In Zoe’s face, especially her
eyes, I felt the layers of my own reac-
tion in that moment: I’m sitting here
with a notebook, going up against huge
forces. The scariest part is the prospect
of failing. I believe in this process. I am
honored by your trust. And we are not
going to let you down.
In life, and the film, there’s an
implicit but powerful contrast
between the way women like Zelda
were treated by Weinstein and the
level of support our own editors gave
us. That gap has always been a little bit
of a heartbreak. Creative, enterprising
women like Zelda were erased from
the film business. Nothing can change
that. But the filmmakers have returned
them to Hollywood and given them a
level of respect and dignity they were
never granted the first time around.

In This Issue
Chanel earrings and Rowan glove; paula MEET THE PRESS
bracelet; select Chanel rowan.com. Earring; 100–101: Tailor: Hailey
boutiques. On Andam: gucci.com. 92: Dress; Desjardins.
Dress; erdem.com. gucci.com. Jacket and
83: Earring; Dover pants; Alberta Ferretti THE ODD COUPLE
Table of Contents: 20: (paulamendoza.com) Street Market. Bangles; boutiques. Shoes; 104–105: Tailor:
Coat; maxmara.com. and Gucci (gucci.com). ysl.com. 84: Gown; select Chanel Cassady Rose Bonjo.
Khaite sweater; khaite Top right photo: On michaelkors.com. boutiques. Erdem
.com. Gucci shirt; Coel: Gucci Made To Shoe; loewe.com. earrings; erdem.com. JUST ONE THING
gucci.com. Shoes and Measure Dress By Earring; select Chanel Versace choker; 110: Shoes;
socks; lafayette148ny Alessandro Michele; boutiques. Alexander versace.com. 93: brothervellies.com.
.com. Bag; therow.com. available upon request. McQueen cuff; Cardigan, shorts, glove, Pins from Lizzie
Cover Look: 26: Dress; Gucci shoe and alexandermcqueen earring, and necklaces; Fortunato (lizzie
available upon request. earrings; gucci.com. .com. 85: Saint Laurent select Chanel fortunato.com) and
Earring; gucci.com. View From the Top: 56: by Anthony Vaccarello boutiques. Manicurist: Prounis (prounisjewelry
Contributors: 40: Top Jacket and pants; jacket and bangles; Nails by Mimoberry. .com). Pendants; tiffany
left photo: On Madit: moncler.com. ysl.com. Shirt and .com. 112–113: Bag;
Ralph Lauren RLX tank Manicurist: Simone pants; net-a-porter STRONG SUIT therow.com. Lafayette
top and shorts; Cummings. Tailor: .com. Miu Miu earrings; 98: Jacket, turtleneck 148 New York shoes and
ralphlauren.com. Skirt; Eleanor Williams. miumiu.com. 87: Wrap; sweater, skirt, socks; lafayette148ny
maxmara.com. michaelkors.com. headpiece, and bag; .com. Mateo necklace;
Balenciaga sunglasses; ON A ROLL Jacket, shirt, pants, thombrowne.com net-a-porter.com.
balenciaga.com. 80–81: On Coel: Blazer gloves, and shoes; for information.
Christian Louboutin and top; dolcegabbana gucci.com. Versace 99: Coat, shirt, skirt, PLAY ON!
shoe; christianlouboutin .com. Dress; select earrings; versace.com. necktie, shoes, and tie 114: Sunglasses;
.com. Earrings from Louis Vuitton stores. 91: Coat and skirt; bar; thombrowne.com. bottegaveneta.com.
Paula Mendoza Jewelry Shoes; Dior boutiques. us.burberry.com. Paula Manicurist: Alexis Maye. Necklace; tiffany.com.

134 NOVEMBER 2022 VOGUE.COM

 MT: People always ask me and Jodi JK: Zoe, who understood she was But as reporters, we’re also cautious
if we were scared of Weinstein. But dealing with a reporter who wanted about sweeping statements of where
the movie captures a common trait to know everything, was generous things stand. That same week, the
of investigative reporters: We relish and clear: She wasn’t mimicking the Southern Baptists, the largest Prot-
squaring off against wrongdoers. precise me, but using certain things estant denomination in the country,
about me to build a character of her were in turmoil over #MeToo issues,
JK: The most f requent reaction own. Her questions were half tech- and there are other signs of the dura-
we’ve gotten to our book, and now nician, about the details of reporting, bility and scope of the movement.
the film, is that going through this and half shrink, about my deepest The final accounting on what has and
recent histor y is less depressing motivations. In that second category, hasn’t changed in the past five years is
and more galvanizing than people she went to places we never could. not done, and the question of where
assumed. Perhaps that’s because the If I try to explain in prose how my we go from here is unknown.
story answers the perennially difficult relationship with my older daughter,
question of how you confront a bully: Talia, fueled this work, it would come JK: Megan and I are on fresh report-
You do it together. out treacly. Zoe’s version onscreen ing quests now—she has delved into
is slightly fictionalized, but sharp, online dangers to vulnerable teen-
MT: As she prepared for her role, beautiful, and true. agers, while I have returned to my
Carey combed through my public obsessions with Amazon and the
interviews and observed me over MT: Along with everyone else, Jodi workplace. As the film was being
Zoom from her home in England, and I watched with wonder as the made, the two of us were enduring
then over meals and playdates with #MeToo movement that Tarana the pandemic, trying to channel that
our children in New York. I’ll confess Burke had founded a decade earlier newsroom energy from corners of our
it all made me a bit self-conscious. accelerated with breadth and speed Brooklyn bedrooms. We coped in part
But I can now see that research no one could ever have predicted. by meeting for long loops in Prospect
paid off. If this story was just a movie, it Park, developing our own shared ideas
Take the scene where she fields a would have stopped there: Women about investigative journalism and
surprise visit from Weinstein and his triumph. The end. But as reporters where it could go in the future.
lawyers in a Times conference room. well know, stories are rarely that tidy. We hope the film will help bolster
As they frantically scramble to try And sure enough, as the movement the case for this work. Our job is to
to smear Weinstein’s accusers, Carey progressed, it became increasingly build people’s confidence in telling
watches calmly, a slight smile spread- complicated—and controversial. the truth. We want people to feel as
ing across her face. When we watched this film for the deeply as we do that facts and stories
By that point, we knew we had first time last summer, Johnny Depp matter, that change can happen. If a
the facts and the backing of a pow- was successfully suing Amber Heard single truth-teller gains the confidence
erful news organization. There was for defamation, as his supporters to call a journalist because of this film,
nothing Weinstein could do to flocked the courthouse and viciously that would be the best possible reward:
stop us. attacked her online. the cycle beginning anew. @

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135
Last Look

Dior boot
S ET D ES I GN : JO CE LY N CA BRA L .

The great outdoors seems even more beautiful in—or on—Dior’s floral-patterned
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along with fanciful images of clematis flowers and sparrows, they’re a natural
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or for bringing the country scenery to the city for a rainy or snowy commute.
P H O T O G R A P H E D B Y R YA N J E N Q

136 NOVEMBER 2022 VOGUE.COM

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