Vogue USA 09.2021

ANNA WINTOUR Global Editorial Director Deputy Editor TAYLOR ANTRIM Fashion Director VIRGINIA SMITH Creative Editorial Director MARK GUIDUCCI International Editor at Large HAMISH BOWLES Editor, Vogue.com CHIOMA NNADI Global Director, Vogue Runway NICOLE PHELPS Executive Fashion Director, Vogue.com RICKIE DE SOLE Fashion News Director MARK HOLGATE FA S H I O N Sustainability Editor TONNE GOODMAN Director, Fashion Initiatives ALEXANDRA MICHLER Senior Director, Talent Casting HELENA SURIC Accessories Director WILLOW LINDLEY Jewelry Director DAISY SHAW-ELLIS Senior Fashion News Editor STEFF YOTKA Senior Fashion and Culture Editor JANELLE OKWODU Fashion News Editor SARAH SPELLINGS Archive Editor LAIRD BORRELLI-PERSSON Senior Fashion News Writers EMILY FARRA, LIANA SATENSTEIN Fashion and Style Writer CHRISTIAN ALLAIRE Editor NAOMI ELIZEE Menswear Editor MICHAEL PHILOUZE Market Editors RACHEL BESSER, MADELINE HARPER FASS Associate Fashion Editors CHARLOTTE DIAMOND, CIARRA LORREN ZATORSKI, MAI MORSCH Assistant Fashion Editors LUCAS O’BRIEN, KATHLEEN THOMAS Bookings Manager MORGAN SENESI Contributing Editors JORDEN BICKHAM, GRACE CODDINGTON, ALEX HARRINGTON, GABRIELLA KAREFA-JOHNSON, SARAH MOWER CARLOS NAZARIO, CAMILLA NICKERSON, PHYLLIS POSNICK, LAUREN SANTO DOMINGO, TABITHA SIMMONS F E AT U R E S Senior Editors CHLOE SCHAMA, COREY SEYMOUR Entertainment Director SERGIO KLETNOY Associate Features Editor MARLEY MARIUS Culture Writer EMMA SPECTER Entertainment Associate KEATON BELL Contributing Editors TAMAR ADLER, ABBY AGUIRRE, MIRANDA BROOKS, LAIA GARCIA-FURTADO, ADAM GREEN, ROB HASKELL NATHAN HELLER, DODIE KAZANJIAN, CHLOE MALLE, LAUREN MECHLING, ALEXIS OKEOWO, MICHELLE RUIZ MAYA SINGER, RAVEN SMITH, PLUM SYKES, JONATHAN VAN METER, SHELLEY WANGER, LYNN YAEGER B EAU T Y/ L IV I NG Beauty and Wellness Director CELIA ELLENBERG Senior Beauty Editor LAUREN VALENTI Senior Living and Beauty Editor ELLA RILEY-ADAMS Beauty Assistant AKILI KING Senior Living Writer ELISE TAYLOR Contributing Editor ALEXANDRA MACON C R E AT I V E Design Director AURELIE PELLISSIER ROMAN Art Director PARKER HUBBARD Visual Director NIC BURDEKIN Visual Director, Research ROBYN LANGE Senior Visual Editor, Research TIM HERZOG Senior Designer DAVID VO Visual Editors OLIVIA HORNER, THOMAS WOLFE Associate Visual Editor FABBIOLA ROMAIN CO NT EN T STRAT EGY/O P ERATI O NS Executive Director, Content Strategy ANNA-LISA YABSLEY Executive Editor JESSIE HEYMAN Innovation Director FERNANDO DIAS DE SOUZA Director of Business Operations MIRA ILIE Associate Director of Logistics MIMOZA NELA  Director, Audience Development and Analytics ABBY SJOBERG Senior Manager, Analytics CHANDNI VYAS Senior Commerce Editor JULIE TONG Commerce Editor LILAH RAMZI Commerce Writer ALEXIS BENNETT Commerce Producer CLARISSA SCHMIDT Associate Producer CASSANDRA PINTRO Executive Assistant to the Editor in Chief SACHE TAYLOR Assistant to the Editor in Chief CAROLINA GONZALEZ External Policy Advisor HILDY KURYK SOCIAL Director, Social Media LUCIE ZHANG Senior Manager, Social Media PUJA PRAKASH Director, Creative Development and Programming, Social Media SAM SUSSMAN Manager, Social Media ATALIE GIMMEL V I D E O/ M U LT I M E D I A Vice President, Head of Video ROBERT SEMMER Director, Creative Development ANNA PAGE NADIN Manager, Creative Development ALEXANDRA GURVITCH P RO DUCT I ON /COPY/ R ES EA RC H Production Director CRISTINA MARTINEZ Copy Director JOYCE RUBIN Research Director KRISTIN AUBLE Senior Production Manager JOHN MOK Production Manager HOLLIS YUNGBLIUT Production Designer COR HAZELAAR Copy Manager ADRIANA BÜRGI Research Managers ALISON FORBES, TANISHA SYKES Fashion Credits Editor IVETTE MANNERS Copy Manager, Senior Digital Line Editor JANE CHUN Research Manager, Senior Digital Line Editor LISA MACABASCO EVENTS/EXPERIENCES Director of Special Events JESSICA NICHOLS Associate Director of Special Events JENAE HOLLOWAY Experiences Director LAURA PATERSON Experiences Editor JASMINE CONTOMICHALOS Experiences Manager IAN MALONE Experiences Production and Marketing Manager ELISEÉ BROWCHUK Experiences Associate VIVIENNE LETALON European Editor FIONA DaRIN European Fashion Associate VIOLA MARELLA BISIACH Contributing Editor LISA LOVE C O M M U N I C AT I O N S Vice President, Communications JILL WEISKOPF Associate Manager, Communications REMI BERGER Associate, Communications OLIVE LEATHERWOOD Global Creative Director JUAN COSTA PAZ 96 S E P T E M B E R 2 0 2 1 V O G U E . C O M

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Letter From theEditor Office Hours I would like to speak up for office life. And I mean life in an digital ways. The pandemic has not dampened creativity—far from actual office—not the kitchen table or your daughter’s room it. But the charge of color and texture, the excitement of fashion or (God forbid) your bed. I know we’ve all found incredible in front of your eyes, the delight of proximity, of the physical new ways to collaborate through COVID, and Zoom is an world up close—it’s all part of what makes this work worthwhile amazing tool—we’ll never give it up—but as the Vogue staff has and fun. And that has not faded. cautiously come back together at One World Trade Center in recent weeks, I have felt an altogether uncautious feeling of joy. And so: Vogue’s September issue. A milestone in our year and an opportunity to declare what we’re excited about, and what I’m not a social scientist. I don’t study productivity and cannot matters most to us. This year it’s New Beginnings—a theme that is speak confidently about whether we can accomplish more in expressed on all covers of Vogue around the world. New Beginnings person or remotely (or via some hybrid of the two). What I can tell is both a global statement of optimism and an acknowledgment you is that the sense of community that comes with passing one that so much has changed through this terrible pandemic— another in the hallway, visiting at our desks, problem-solving and especially in fashion, which is adapting and disrupting old ways of trading creative ideas face-to-face, is real and sustaining and not operating, and delighting and challenging us all the while. >118 replaceable through our screens. BACK TO WORK And fashion? It’s true that I’ve been dazzled by the ingenuity THE EDITOR, IN HER ONE WORLD TRADE CENTER OFFICE. of designers who have shown their collections in new, entirely PHOTOGRAPHED BY ANNIE LEIBOVITZ. 112 S E P T E M B E R 2 0 2 1 V O G U E . C O M







Fall Winter 2021 2022

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Letter From theEditor POINTS OF VIEW FROM FAR LEFT: ACTOR ALDIS HODGE (IN DOLCE & GABBANA AND TOM FORD), MODEL KAREN ELSON (IN CELINE BY HEDI SLIMANE), AND MODEL NATALIA VODIANOVA (IN MARNI). PHOTOGRAPHED BY ANNIE LEIBOVITZ. It is American fashion that feels especially vital right now, with office life is, after all, FAS HIO N E DITOR: GRACE CO DDIN GTON. ME NSW EAR EDITO R: MIC HAE L PHILOUZE . HAIR, JUL IE N D’YS ; MAK EU P, FRAN C ELLE DALY. New York Fashion Week in full resurgence and a glorious two-part something I’ve carried SET DESIGN, MARY HOWARD STUDIO. SPECIAL THANKS TO INSIGNIA FILMS/BEATRIX FARRAND’S AMERICAN LANDSCAPES. DETAILS, SEE IN THIS ISSUE. exhibition at the Metropolitan Museum of Art’s Costume with me for many years. Institute set to open this month, which will offer the best and most And community and inclusive vision of American fashion ever mounted. The first collaboration are not new installment, “In America: A Lexicon of Fashion” (part two, “In concepts either. In fact, America: An Anthology of Fashion,” will follow in May), gives one of the most long- important space to engaged, politically mindful voices. “American standing communities at designers are at the forefront of conversations around diversity, Vogue is one that animates inclusivity, sustainability, gender fluidity, and body positivity,” the the breathtaking pictures Costume Institute’s curator, Andrew Bolton, tells Vogue’s Janelle in “Earthly Delights”—a Okwodu in the pages that follow, “and the framework of the show collaboration between enables us to focus on the younger designers who are engaging Annie Leibovitz, Grace thoughtfully and deeply with those ideas.” Coddington, and the model Natalia Vodianova. Community is the watchword among this new American generation—among designers such as Brandon Maxwell and It is fair to say that Kerby Jean-Raymond and Christopher John Rogers, all of whom Vogue brought Annie to you can see in our back-to-work themed shoot by Ethan James fashion—for proof, see Green. I love Ethan’s pictures, which were taken in the Vogue offices her gorgeous anthology of on two busy spring days as New York was opening up after so fashion images, Wonderland, out from Phaidon in November. many months of pandemic restrictions, and which feature a bevy Annie is nothing less than America’s greatest living photographic of real Vogue staffers and a cast of American models who define portraitist, and after more than two decades of working with her the moment. Community, of course, matters to models too, and the I can say without overstatement that she has changed fashion current generation seen in these pictures is at the forefront of a photography forever. Her extraordinary gift is that of the storyteller. thrilling change in our thinking about beauty, bodies, and what it She situates fashion in narratives and fantasias that are as deeply means to have influence and visibility in the fashion world. As researched as they are wildly creative. In this she is often aided by writer Maya Singer puts it in her report on the shifting landscape the incomparable Grace Coddington. What more can be said of modeling, these young women have “forced an industry-wide about Grace’s gifts as a fashion editor? Perhaps only this: that she reckoning with an essential question: Who gets to be a model?” knows how to match clothes to a natural landscape as well as anyone (Grace loves her gardens). And so when I suggested that I love questions like that, questions that cause us to turn around she and Annie consider a shoot inspired by the pioneering and reevaluate everything we think we know—questions that early-20th-century American garden designer Beatrix Farrand, the prompt positive change. I also know that change is not always pair of them absolutely ran with the idea. In “Earthly Delights,” about simply dispensing with the past. My renewed love for Natalia (whom Annie and Grace have famously cast before, as Alice in Wonderland and as Edith Wharton, in just two of their best-known shoots for Vogue) plays Farrand, “Trix” to her friends, who created gardens for some of the most illustrious families of her day (the Morgans, the Rockefellers, et al.). Farrand was a singular talent, driven, independent, and a bit indomitable—not unlike the three women behind this amazing shoot, which also includes Karen Elson as Farrand’s friend Mildred Bliss and the actor Aldis Hodge as one of her contemporaries in landscape design, David Williston. I’m so proud to have it in this issue—something lasting and classic amid the new beginnings. 118 S E P T E M B E R 2 0 2 1 V O G U E . C O M















Contributors Annie Leibovitz, Grace Coddington, and Natalia Vodianova For Vogue’s September issue, the photographer, contributing editor, and model all paid tribute to Beatrix Farrand, an intrepid American landscape designer active between 1895 and the 1950s (“Earthly Delights,” page 310). Informed by the great gardens of Europe and northern Africa, Farrand’s work fascinated Leibovitz, who spent her teenage years not far from Dumbarton Oaks, Farrand’s crowning achievement in Georgetown (and a key location for the Vogue story). Returning home to New York after the shoot, she says, “I looked at my house and said, ‘I have to do some landscaping.’” Coddington— herself prone to puttering in her Wainscott, New York, garden—was also bewitched by the estate. “It was very beautiful,” she says, noting that a swarm of cicadas seemed to agree. “They were all there with us!” Miranda Maya Rafael LEIBOVITZ, CODDINGTON, AND VODIANOVA: KATHRYN MACLEOD. MIRANDA BARNES: COLETTE ABOUSSOUAN. Barnes Singer Pavarotti MAYA S ING E R: CAN DAC E LAK E . RAFAEL PAVAROTTI: COU RTESY O F SU BJECT. It seems fitting that for “Curtain Up” Between her various reported stories for Pavarotti, a Brazilian-born photographer (page 326)—Adam Green’s preview of Vogue—on the commodification of based in London, had none other than Broadway’s long-awaited reopening this psychedelic drugs, for the March issue; the Edward Enninful as his fashion editor for fall—the person behind the camera was perks of “slow living,” for June/July; and “Speaking the Same Language” (page 292), also a native New Yorker. Born in Brooklyn on eight of fashion’s most exciting models Afua Hirsch’s story on Miuccia Prada and and raised on Long Island, Barnes shot for this month’s cover story, “All in a Day’s Raf Simons’s new creative partnership Camille A. Brown—who will both direct Werk” (page 248)—Singer has had all kinds (and a special collaboration between Vogues and choreograph Ntozake Shange’s for of plates spinning this year. “Hilariously, U.S. and U.K.). The color-saturated colored girls who have considered suicide / a short film that I made debuted at the portfolio that resulted features four actors when the rainbow is enuf this winter— Tribeca Film Festival literally the night rapidly on the rise, all dressed in Miuccia and the ensemble from Keenan Scott II’s before my deadline for the September and Raf’s striking new vision for Prada. Thoughts of a Colored Man, opening story,” the writer says. (That short, Mother, “The concept was inspired by Miuccia in October, for this issue. She had a few belonged to an anthology drama called Prada’s universe,” Pavarotti explains. “You creative references for the latter picture— With/In; and next up for Singer are two new can feel the symbiotic values behind set en plein air in Central Park—including television series.) Yet the madness hasn’t everything she creates. I admire her intrinsic a 1964 image by Garry Winogrand and been without its pleasures, like chatting storytelling, the strong connection with art, a book of Saul Leiter’s color photography; with September cover stars Ariel Nicholson cinema, literature, architecture, and music.” but there was a deeply personal and Kaia Gerber about their interest in And how was it, uniting with British Vogue’s undercurrent to the shoot, as well. “My acting. “They were talking to each other as editor in chief ? “Working with Edward first Broadway show was The Lion King friends who were still figuring something was a great pleasure,” Pavarotti says. “We with my nana,” Barnes reveals, “and out,” Singer recalls, “and it always feels empowered each other and created this those memories are still with me today.” really alive when somebody is doing that.” magical universe that I’m so in love with!” 126 S E P T E M B E R 2 0 2 1 V O G U E . C O M

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Lives Into the Woods PRODUCTION BY AN LÁR FILMS; SHOT ON LOCATION AT BELLEEK WOODS. With their seductive depiction of 20-something life, Sally Rooney’s novels catapulted her to literary superstardom. Her latest book reckons with the thornier aspects of fame. By Olivia Marks. T hree years ago, on an early summer’s afternoon in leafy Fast-forward to 2021, and that second novel, Normal People, a Bloomsbury, London, a 27-year-old Sally Rooney and will-they-won’t-they? tale for the millennial era about two students, I were sitting in the grand offices of her British publisher, Marianne and Connell, has to date sold more than three million Faber, discussing her upcoming second novel. Her debut, copies worldwide, been praised by everyone from Barack Obama Conversations With Friends—the story of two best friends and one’s to Taylor Swift, and been translated into 46 languages. The adulterous relationship with an older married man—had been out subsequent BBC and Hulu TV adaptation has been streamed more for a year, and already Rooney was haloed by a cult status: a literary than 62 million times on BBC iPlayer alone and made >146 novelist who had broken the mainstream. “Salinger for the Snapchat generation” is how she was introduced to the world (“I remember HAND IN HAND thinking at the time,” Rooney guiltily recalls, “What is Snapchat?”), ROONEY’S NEW NOVEL, BEAUTIFUL WORLD, WHERE ARE YOU, IS ABOUT THE and anticipation for her follow-up was reaching fever pitch. NEXT PHASE OF LIFE, SHE SAYS, “WHEN YOU REALIZE SOME OF THE DOORS HAVE CLOSED BEHIND YOU.” PHOTOGRAPHED BY PERRY OGDEN. 142 S E P T E M B E R 2 0 2 1 V O G U E . C O M

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