Vogue March 2024

YOU WOULD NOT THINK, WHEN it comes to Miuccia Prada, that there is still such capacity for surprise. But in Milan for the ready-to-wear shows last fall, we were struck and amazed all over again by the vibrancy and intelligence of what we were seeing at Prada and at Miu Miu. With Prada this is, of course, down to Miuccia and her creative partner, Raf Simons. Never have I known two similarly immense design talents who have achieved such a rare and intensely mutual collaboration. But when I and the other editors considered the quality that extends between both houses—so restless and modern at Prada, so playful and pugnacious at Miu Miu—it was Miuccia’s creativity, brilliance, and confident spirit that dominated the mind. At 74, Miuccia has simply never been…

Miami Nice “Island Time” (page 250) sent photographer Theo Liu and Vogue contributing fashion editor Jorden Bickham down to Miami Beach, where they shot model (and hometown hero) Devyn Garcia—seen at center, in Marni—with her younger sister, River (left), and their model turned firefighter mom, Jennie (right). (Although she posed for other Vogues during her career, this story marks Jennie’s US debut.) Together, the crew cavorted on the beach, stopped in to the shops on Washington Avenue, and had a seafood feast at Joe’s Stone Crab, a local mainstay—enjoying just another day in paradise. Mad About Miuccia This month’s cover story, simply titled “Mrs. Prada” (page 170), had writer Wendell Steavenson meet the inimitable Miuccia Prada in Venice and Milan. Their conversation is paired with a portfolio, shot by Stef…

The videos keep coming: armed fighters taunting men with their hands tied behind their backs, bodies piled in an open grave. The videos are from Sudan, where two generals began a struggle for power last spring that has killed more than 12,000 people, displaced 6.6 million, and turned the nation into a battlefield, one that has flooded social media with images and videos that give the impression of a country burning alive. The Washington, DC–based Sudanese women’s rights activist Niemat Ahmadi can’t stop watching the footage. Nor can her friend and fellow activist Sadya Eisa Dahab. “Shooting and burning, people running for their life,” said Ahmadi when I visited her at home on a recent winter day. “It’s shocking.” Trees shook in the wind outside, but Ahmadi’s two-story house in…

As I join a video call with Johnny Valencia, the founder of Pechuga Vintage, I notice his attention split between two screens: his phone’s, where he’s talking to me from Los Angeles, and his computer’s, where he’s scrutinizing an online auction of Mouna Ayoub’s Chanel by Karl Lagerfeld collection. The French Lebanese socialite is doing away with 252 pieces from her substantial haute couture archive, and Valencia is eyeing the magnificent black silk crepe gown from Chanel’s 1992 couture collection that Christy Turlington first wore on the runway, and that Lily-Rose Depp reintroduced at the 2019 Met Gala. “I like to see myself as a vessel for transitory beauty,” says Valencia with a laugh. The vintage dealer, who started his business officially in 2018 after years of amateur thrifting amid…

I like to go where things are uncomfortable, or complex,” says Omar Apollo. “Making music isn’t easy. That’s why I’ve dedicated a lot of my life to it.” It’s also why the 26-year-old musician hasn’t taken much of a break since releasing his debut album, Ivory, in 2022. A lush blend of R&B and hip-hop along with Latin trap and Mexican corridos, Ivory revealed Apollo’s chameleonic versatility and earned the singer-songwriter his first Grammy nomination for best new artist. Not long after, he left his home base of LA to open for SZA on the North American leg of her arena SOS tour. “It’s not my show, so I was kind of scared of how the crowds would react,” he says. But “seeing people’s expressions, it’s huge.” In October, Apollo released…

In March of 1915, a crowd of fashionable patrons gathered for the New York premiere of Alexander Scriabin’s Prometheus: The Poem of Fire. The Russian-born Scriabin had composed the piece by means of what he called his “color hearing,” a synesthesia-inspired interpretation of the correlation between notes and hues—something the staging at Carnegie Hall was meant to reflect. “Over the heads of the musicians stretches a gauze screen,” reported one gushing contemporary account, “and across this screen play many-colored lights, blending, sweeping onward in overpowering beauty.” It was the first complete performance of the first composition arranged this way, notes musicologist James Baker, and a culmination of the pianist and composer’s future-forward music. Mere weeks later, the avant-garde visionary died, taken down by a simple infection. This month, more than…