Vogue November 2019

Food in Vogue is a chronicle of the fashion authority’s long-standing fascination with culinary culture, drawing together images that have appeared in Vogue from the world’s top photographers—Irving Penn, Helmut Newton, Anton Corbijn, Annie Leibovitz, and others—as well as the journalism of food writers, including James Beard Award–winning Jeffrey Steingarten. abramsbooks.com Available wherever books are sold…

IN EVERY NOVEMBER ISSUE from 2004 onward we have introduced you to the 10 finalists of the CFDA/Vogue Fashion Fund. We started the fund in response to the turbulent landscape for young designers after 9/11, when many of them were struggling to keep themselves and their businesses afloat, and over the years, many of our finalists have gone on to international acclaim. (To name just a few: Proenza Schouler, Alexander Wang, Rodarte, Altuzarra, and Thom Browne.) Of course, the world in which they started their businesses is now almost unrecognizable. At the time of the fund’s inception there was no Instagram, there were no influencers, and e-commerce was but a fraction of what it is today. And while it’s been only 15 years since, if one measures that earlier era…

I started noticing Peter’s pictures for Italian Vogue and in campaigns for Comme des Garçons and Yohji Yamamoto in the early ’80s. He had a very strong point of view: I loved the roughness and the wildness. He would do all the girls with no makeup, on the beach in Deauville, France. He took everybody there, including myself eventually, and he did not care whether it was winter or summer. It didn’t matter. In winter it was bloody freezing and he didn’t care! The girls didn’t care, either, because they all loved him. All the supermodels trusted him so much. He always made them look so real, so touchably real. He loved Kathy Ireland, and Helena, Linda, Christy, Naomi, and Cindy. He loved Tatjana Patitz and Stephanie Seymour and Cecilia…

I wanted to be a comedian when I grew up. I wanted to be Lily Tomlin and Jane Wagner rolled into one with a bit of Bea Lillie and Elaine May thrown in. This was when I was in my late teens, living opposite my mum on the same North London street where I’d been raised. (I’m still there actually, which is weird.) I was 20 and a student at Cambridge University when I wrote my first monologue as a member of the Footlights troupe. We’d travel to perform at events like the Philips Small Appliances Campaign Dinner outside Birmingham. I remember standing in the wings waiting for a stripper to finish demonstrating the new Philips Ladyshave on legs already so efficiently depilated I thought she was going to bleed.…

FASHION “Cara was the very first woman I kissed on the lips!” says Olivier Rousteing, laughing as he fondly recalls how he met, hit the clubs with, stayed up late with, worked with, and eventually became dear friends with model/actor Cara Delevingne. This month, Delevingne, 27, and Rousteing, 34, the creative director of Balmain, launch an exuberant unisex collection—Puma x Balmain Created with Cara Delevingne—that includes silky red-and-blue boxing shorts, color-blocked bomber jackets, hoodies, leggings, and distressed striped tees—sportswear that might be saddled with the moniker “athleisure” since it is deeply practical, but that also evinces an inimitable, unmistakable Balmain flair that transcends that plebeian category. When Puma approached Delevingne about collaborating on a line with a designer, she knew immediately whom she wanted to work with and why. “I…

ART On a Wednesday afternoon in the dog days of summer, a trickle of tourists strays hopefully through the Museum of Modern Art’s staff entrance, only to be gently shown a reopening october 21 sign, followed by the door. For a closed museum, however, the place is exceptionally busy. Carts, dollies, buckets, trestle tables, and concertina platforms are rolled around the open floors in a complex yet orderly choreography. It’s as if the legacy of Philip Johnson’s modernist strictures—Johnson served in the museum’s architecture department in the ’30s and expanded its original 1939 structure in 1964—is conferring its own set of minimalist manners on the building’s current occupants. I am handed a rather chic white hard hat bearing MoMA’s distinctive black logo and escorted on a work-in-progress tour by a…