Vogue HOPE : British Issue
The September cover of British Vogue features an all at once strikingly contemporary while rootedly timeless black and white portrait of Marcus Rashford and Adwoa Aboah; each leveling an arresting gaze directly past the confines of the page and onto the viewer. The image was taken by photographer Misan Harriman, the first black male photographer to have work featured on the cover during British Vogue’s 104-year history. The pair wear modern utilitarian style garb, invoking a sense of the discipline required for their work.
Upon opening the issue’s title “Activism Now” a stunning installation is revealed, comprised of twenty portraits of modern activists such as Angela Davis, Patrisse Cullors, and Joan Smalls, who had her featured portrait taken via Facetime. The Hope theme was readily embraced by editor-in-chief Edward Enninful,
“I knew instantly and deeply believed in what British Vogue’s interpretation needed to be – an ode to the extraordinary voices, old and young, who in this difficult year have devoted their energies to fighting for a fairer society.”
— EDWARD ENNINFUL, EDITOR’S LETTER BRITISH VOGUE, SEPTEMBER 2020
Enninful’s enthusiasm for the opportunities of the theme is evident throughout the entirety of the issue. The first section is heavily weighted with ads but around the hundred page mark is “The Big Reveal” wherein Riz Ahmed is announced as British Vogue’s newest contributing editor. He presents the celebration alongside an intimate essay of loss and lessons during COVID-19. The vulnerable sentiment demonstrates the revelation of this time: a re-invocation of the desire for real connection.
Following sections feature young culture shifters such as Casil McArthur (pg. 130), Anabela Chan (pg. 286) and youth organization One Young World (pg. 111). Every voice presented seems to be speaking from a shared collective of mutual respect and genuine desire for change. It is heartening to see the bravery of the next generation as they challenge the standards set before them.
Reflecting this year’s reinvigoration of (forced) passion for our home spaces, the Vogue Living Article features an encapsulated glimpse into gallerist Jeanne Greenberg Rohatyn’s New York townhouse (pg. 119). Her home is filled with a vast variety of strange and surreal pieces that invoke a sense of joy just from viewing their images: a basketball hoop chandelier, a naked woman flower pot, a frog table.
Matt Haig then takes the baton, providing a pivotal DIY guide with his centerfold, “Notes on Hope” (pg. 124). His naively joyous illustrations exist in a mature color palette, allowing each viewer to connect with the tender place inside themselves that gets forgotten in the mundane chaos of everyday calamites. His uplifting and unexpected notes demonstrate a considered sentimententality of praise for our shared human nature.
A Vogue Archive article features a resonant reflection on the relationship between “Fashion & Fortitude” (pg. 132). A black and white photo by Cecil Beaton depicts model Elizabeth Cowell descending the front steps of a building that has been demolished around her, walls collapsed and rubble piled high around her Digby Morton utility suit; a perfectly angled Hugh Berefosford hat concealing her gaze.
The image reflects something of today’s global calamity, her assured composure in the destruction’s wake is as reassuring now as when captured back in 1941.
The middle of the magazine brings a comforting dose of nostalgia, demonstrating a considered take on some of the popular tropes of growing up with Barbie. The Dreamhouse goes contemporary as a refreshingly inclusive range of dolls dons outfits designed by four recent graduates of London design courses.
The international portfolio of Hope images is featured in every issue with the complete collection residing online. I particularly enjoyed Inyez & Vinoodh’s photograph from France of model Lou Schoof as she stands with her back to a beautiful oceanfront, arms outstretched to display a pane of glass filled with a trapped and mutilated rose (pg. 214).
These powerful images are quickly followed by a centerfold layout featuring a large headline: “The Great Awakening.”The section brings about a call to action,
““There is no shortage of ideas on where we go from here, but we all agree that, post-pandemic, it isn’t about going back to normal, it’s about forging a path to a better, brighter future. Be the change.””
— PG. 217
For insight into how to bring about this change, writer Afua Hirsch meets a wide multitude of activists including those featured on the cover foldout. The perspective could not be more multi-faceted, ranging from topics of education, discrimination, gender equality, and even to climate change. The chorus array of voices presents a cohesive perspective, aided by the contribution of the individual experiences of each who participated.
Five authors contribute their voices later in “Dreams of the Future” (pg. 254). The sentimental glances into their lives are poignant, striking the chord of emotional resonance only available to the most gifted writers. Immediately following is “A Change of Pace” wherein the industry’s leading designers present their reflections from quarantine, divulging their audience with details of the ways their work has been forced to adapt under restrictions (pg. 259). To hear a direct voice of humanity from these market leviathans is pivotal in the determination of the future of the fashion industry. In reading their individual causes for change, the vision of this future reconstruction is shaped.
Gwyneth Paltrow provides a portrait of her relationship empowerment in the following pages as she explains the conscious choice of uncoupling and how the dissolution of traditional expectations allowed her family to have a structural freedom shaped by love (pg. 274). Immediately following is photographer Craig McDean’s portfolio of his partner, Alice Kim, taken at home in New York (pg. 277). The clothing provides a narrative of the facets of their connection as it reverberates Gwyneth’s earlier discussion of choice.
In one of the concluding sections Claudia Schiffer celebrates her 50th birthday at home with husband Matthew Vaughn who photographs her in the season’s most elusive evening gowns (pg. 293). The evocative and highly editorial images are straight from a spy film-- it’s undeniable, the stunning femme fatale has still got it.
The concluding essay to this issue is the incredibly thoughtful and expansive essay, “How to Fix Fashion” by Dana Thomas (pg. 299). The comprehensive essay presents a timestamped image of the fashion industry as it stands; documenting the history and failures of the unintuitive buying cycle, the adjustments made to runway shows since February, the precautions taken by stores currently engaged in re-opening and moving forward: the specific initiatives being taken up by brands.
Overall the issue presents the thoughtful perspective of a magazine seeking to share its platform with those seeking to create meaningful change within the industry. The content coalesces into a touching account of the effects of the year, perfectly encapsulating the unifying message of Hope.
““Never underestimate the power of a great fashion story to lift your spirits.”
— EDWARD ENNINFUL, EDITOR’S LETTER BRITISH VOGUE, SEPTEMBER 2020
