Vogue HOPE: US Issue
In this time of growing tension and unrest, frivolity has quickly withered-- only essential things have remained. In an effort to establish themselves as one of these essential things, Vogue has pivoted its much anticipated September issue to provide a platform for the unexpectedly inspiring-- ranging from average do-gooders to celebrated influences. In an appropriately unprecedented fashion; for the first time in Vogue’s 128 year history all 26 magazine editors have united under a central publishing theme: Hope.
The cover images still carry their variance from country to country but here in the United States, Vogue opted for two, alternate, covers. Both covers feature stunning portraiture of Black women; one in the form of a painting by Jordan Casteel, made from a photograph of activist Aurora James; the other in the form of a painting from the mind of Kerry James Marshall. These covers, under the umbrella of the global Hope motif, are Vogue’s response to the recent reckoning faced by the fashion industry. In coalition with the recent resurgence of the Black Lives Matter movement, they have been called into critique for their exclusionary language and biased marketing that perpetuates racial structures of inequity and invisibility.
The stunning blue and brown tonal portrait by Jordan Casteel depicts Aurora as divinely feminine, baroque in her illustriously billowing Pyer Moss creation. Her gaze appears relaxed, if not weary-- a reflection of the unmistakable soft palour of grief that we have all fallen under this year. The floral arrangements near her feet provide a vibrant note of nature amongst the structural background of the city. The colors ripple in conversation with each other, illuminating interconnectivity in a space of soft elegance.
Critics cite long histories of inaction of the fashion industry, a dangerous disregard for their responsibility to utilize their platform for change. This year, it looks like the fashion industry is looking to make reparations for their negligence. Many designers and retailers alike have announced that they are going back to the drawing board; looking to limit waste and better serve all ends of the industry-- from the textile worker to the consumer. As the chips begin to fall into the end of 2020, every industry has been forced into self awareness, considering their purpose in the years to come.
Looking to establish its place in this new world of post-pandemic awakenings, Vogue has declared to make inclusivity an imperative by taking the 15% pledge, a concept proposed by Aurora James. The challenge asks businesses to grant 15% of their shelf space to Black owned businesses; the percentage corresponding to the relative population of Black people in the United States. The initiative was gestated with the intention of spreading further though which Aurora illuminated when speaking to Janelle Okwodu of US Vogue; “initially it’s about shelf space, but we want people to audit all areas of their companies … Take a look, and then figure out why there aren’t any Black voices.”
Kerry James Marshall painted the other cover, an imaginary woman in an Off-White gown. The portrait is immediately arresting in its density, the prominent black color having been created through an lovingly laborious layering of three different black paints, cobalt blue, chromium oxide green, carbazole dioxazine violet, yellow ochre and raw sienna. Speaking to Vogue, Marshall explains the motivation behind his meticulation; “The point is to show that blackness is rich and complex within the blackness alone. I am operating at the furthest end of the register.” This cover is no surprise when taken in consideration of his lineage of work, Marshall’s pieces often feature figures “at the edge of visibility.” This deliberate message is eloquently explained by the artist;
““If you say, ‘Black is beautiful,’ you have to show it. And what I’m doing is showing it at the extreme. Yes, it is black—very black—and it is very beautiful.””
The September US Vogue issue is a definite departure from the expected-- everything from the ads to the articles has been touched by the tenor of 2020 insight. An early Valentino Garavani ad features a tile collage of self-shot portraits; many individuals holding up signs reading words of warmth: empathy, connection, humanity, radicalism. Nordstrom’s eight page ad features intimate photos from isolation displayed alongside thoughtful musings from the team. A two page Saks Fifth Avenue spread features intimate photos highlighting the craftsmanship behind the creation of any one clothing item. These aberrant ads are innovative in their vulnerability; reflecting an earnest desire for change and radicalization moving forward.
One sombre consequence of this step forward is the magazine’s display of a rapidly growing incongruity; the pages become a portal into the contraposition between tradition and innovation in the fashion industry. These intuitively gracious ads lay in stark contrast with others that appear to be seemingly unfazed by the past months. It is strange to see the apparent juxtaposition of such luxury photos depicting “business as usual” when the real world is anything but. The growing divide in the industry seems to be visually represented in this issue; the rift between old ways and new change growing ever deeper.
Despite its complications and contradictions, the US Vogue September 2020 provides a true insight into the complex dilemmas of our time. Many voices are featured from top designers, amateur artisans, those in activism & political roles, thoughtful creators: “the unsung heroes of the fashion industry.” The voice is vulnerable, explicitly human. There is a resonant central tone of Hope: recognizing the problems that undermine us, but seeing the opportunity in making those reparations for a stronger tomorrow. The issue is a powerful first step for an industry giant seeking to change and I hope it inspires concrete action and other influencers to use their platform to actively change the culture, to champion inclusivity, and to create a celebratory structure for all.
