Edward Enninful’s tenure at Vogue has revolutionized the image of Britain, transcending fashion to depict an inclusive and diverse society. Under Enninful’s leadership, British Vogue has embraced black models as integral figures rather than an afterthought, showcasing them prominently and authentically. The April 2023 issue, titled “The New Supers,” featured three non-white, non-sample size models photographed in full-length shots, defying the industry’s conventional focus on zoomed-in closeups for non-skinny models. This aspirational vision includes individuals of all genders, skin colors, disabled bodies, larger bodies, and across different age groups, presenting a comprehensive representation of the country in its premier glossy magazine.
The significance of this shift extends beyond the realm of fashion. Vogue is not solely about fashion but is also a symbol of status and visibility. It sets the standard for glamour and beauty. Therefore, diversity has become an indispensable aspect of Vogue’s influence, and its impact ripples through other industries. For example, if you are organizing a high-profile event or selecting influencer-ambassadors for a new beauty or wellness brand, failing to embrace diversity in your lineup would appear outdated and out of touch, as inspired by the standards Vogue sets. Tokenism is no longer acceptable; genuine representation is essential.
Despite these advancements, it is crucial to recognize that Enninful has not transformed Vogue into a utopian reflection of ordinary lives. When flicking through the pages, one could forget the existence of the cost of living crisis. The first five dresses featured in the July edition, designed by Valentino, Dior, Tom Ford, and Rick Owens, boasted an average price of £4,771. Enninful’s Vogue has leaned more towards luxury, showcasing incredibly expensive clothing without the previous balance of affordable options. In the past, the magazine would highlight both fabulous ballgowns from Paris haute couture shows and great sandals from high street brands like Marks & Spencer. However, this balance has shifted, contributing to a lack of economic accessibility.
This narrowing economic accessibility contrasts the progress Vogue has made in terms of diversity and representation. Previously, black models were often confined to streetwear or sports-related editorials, perpetuating the stereotype that their voices were only relevant in those areas where blackness was already visible. Black models were frequently presented in stretchy minidresses for the dancefloor rather than trousersuits for the boardroom. However, this correlation no longer holds. Vogue has managed to diversify its models while maintaining the grand and elitist aesthetic that has always defined it.
This current form of Vogue can be frustrating for readers. As a student before the internet era, I eagerly awaited each Vogue release and devoured every word, memorizing names of photographers, designers, and stylists. I also cherished the hope of finding clothing within my budget. It is disheartening to discover that as a 50-year-old woman, I am now less likely to afford anything in Vogue than when I was a struggling student.
Part of this shift can be attributed to the renewed focus on sustainability and investment dressing, encouraging consumers to invest in timeless pieces rather than indulging in fast fashion. Vogue, however, takes this concept to extremes. In their current issue, they feature the same Saint Laurent leather jacket in all six shots, a departure from the traditional practice of showcasing different garments on each page. While sustainability is commendable, the jacket’s price of approximately £5,000 raises eyebrows and highlights the exclusivity of Vogue’s world.
Ultimately, Vogue remains a rarified world for a select group of beautiful people. However, the definition of beauty has expanded, incorporating greater diversity and representation.
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