Indholdsfortegnelse for August 2025 i Vogue

THERE IS PERHAPS NO ONE on earth who needed a break more than Sarah Burton. She had worked at Alexander McQueen since her student days at Central Saint Martins. Twenty-six years—a period that spanned so many honors and triumphant fashion moments that the modest, unassuming Burton had become, almost in spite of herself, one of the defining designers of our age. But she’d had enough. In September 2023, she stepped down from Alexander McQueen without another job in hand. This is a rarity in our industry, but Burton is herself a rarity—diligent and self-deprecating, a designer most comfortable behind the scenes who has always known what she’s wanted to do and has tidily achieved it. The only thing she hadn’t accomplished was rest. So rest she did. For more than…

“Just come forward to the mirror for me a second?” Sarah Burton is standing in a grand studio at Givenchy in Paris, about to embark on a day of fittings for her first spring collection as creative director. A fit model, Hana Grizelj, moves toward her in a calico dress with white organza draping. Notations are written in blue pencil across each bra cup: gauche/droite. Nearby, pale boned dresses and black structured jackets hang on a rail as if worn by ghosts. Burton is wearing what she calls her uniform: jeans, white Converse sneakers, and a collarless white cotton shirt—one of many run up for her by Judy Halil, a pattern-cutter who has worked with her for 23 years. While other designers might do a few sketches and, eventually, have…

Last summer, if you happened to be standing on the shore of the Delaware River near the funky, loft-laden Fishtown neighborhood of Philadelphia, you might have seen a strange event take place: the end of a pier, seeming no more substantial than a child’s construction blocks, succumbing to years of neglect and toppling into the water. Known as Graffiti Pier, the structure—until the 1970s used to load coal onto passing ships—had been a semi-illicit canvas for street artists. (Philadelphia is considered the birthplace of graffiti.) Then came Instagram, and like many a vibrant backdrop, the foot traffic turned over to pedestrians wielding selfie sticks instead of spray cans. The sudden collapse of the pier highlighted the conflicting obligations of urban landscapes that have outlived their initial intent—particularly those where history,…

The Right Angles “The women in this shoot were so delightful and eager to join me in realizing my ideas,” says the German-born photographer Barbara Probst (above, far right), who worked with fashion editor Max Ortega and a game gang of models on the engaging story “Graphic Content,” page 80. “The exercise of seeing two different perspectives of a single moment can be inspiring to all of us. It reminds us that we don’t see the world as it is, but as it appears from our point of view.” Anything You Can Do… In “Coming to America” (page 62), Vogue contributing editor Alexis Okeowo profiles Veronica Leoni, who has been the creative director of Calvin Klein for over a year now. More than injecting the ne plus ultra of American…

Last summer I kept getting emails about a new venue called Galerie Sardine. Who, I wondered, would want to name a gallery after a small fish that travels in schools and is packed tightly in flat tins? The artist Joe Bradley and his irrepressible wife, Valentina Akerman, that’s who. “You can take it with you,” Akerman says, when I visit them in Bradley’s vast Long Island City studio. “It’s also not a fancy fish, and we like that.” Neither of them had ever run an art gallery before, but they took over a 1701 farmhouse in Amagansett, Long Island, and put on several shows that attracted throngs of local and far-flung art lovers, including the biggest fish in the art world, Larry Gagosian. “Joe and I have been collaborating ever…

On a rainy day in early May, Veronica Leoni, the Roman creative director behind Calvin Klein, is at a fitting for her spring 2026 collection in New York’s garment district, where the company has its headquarters. She examines a dress and a trench coat—all the while refining what she calls the transatlantic vision of the new Calvin Klein Collection: combining the “casual, deconstructed beauty” of Rome with the fast rhythm of NewYork’s streets. After six years away from the runway, Calvin Klein wants to reclaim its place as the prime mover for contemporary American excellence in minimalist fashion. Enter Leoni, 42, an animated pixie with a sweep of salt-and-pepper hair. When we meet, in a white-walled room next to a bare-bones atelier full of tables with sewing machines and hanging…

“People tend not to cheat on their interior designer,” says Vicky Charles, who, along with her business partner, Julia Corden, has spent the past decade embedded in the private lives of public people. “You can cheat on your architect or your contractor but not on your designer, because they get to know your life.” When Vicky and Julia founded their interior design firm, Charles & Co., in 2016, they were 39 and 35, respectively. Their assets included a hard-earned reputation (Vicky had spent 20 years overseeing interior design at Soho House), stellar connections (Julia is married to the actor James Corden), and an instinct for discretion. Other than that they were, in their own words, “winging it.” Since then their client list has grown to include David and Victoria Beckham,…

Table of Contents: 8: Dress; calvinklein.us. Tailor: Thao Huynh at 7th Bone Tailoring. Cover Look: 8: Dress; givenchy.com. Manicurist: Jin Soon Choi. Tailors: Raul Zevallos and Matthew Neff for Carol Ai Studio. Editor’s Letter: 14: Left image: Dress, shoes, and gloves; givenchy.com. Manicurist: Jin Soon Choi. Tailors: Raul Zevallos and Matthew Neff for Carol Ai Studio Tailors. Contributors: 18: Top right image: Calvin Klein Collection top, trousers, and boots; calvinklein.us. Hair, Sonny Molina; makeup, Yumi Lee. Thao Huynh at 7th Bone Tailoring. Bottom image: Hair and makeup, Deepa Verma. A LIFE LESS ORDINARY 38–39: Artwork, left: John Singer Sargent, Madame X (Virginie Amélie Avegno Gautreau), 1883–84, oil on canvas. The Metropolitan Museum of Art, New York, Arthur Hoppock Hearn Fund, 1916. Right: Édouard Manet, La Parisienne, ca. 1876, oil on…

The location of my first meeting with Louise Trotter, the new creative director of Bottega Veneta, is confirmed just an hour before we’re due to meet. It feels fitting: Bottega Veneta has long been known for a kind of elegant restraint, and until very recently Trotter has been deliberately private about her debut collection, keeping even her process closely guarded. The address finally arrives: Villa Clerici, an aristocratic mansion nestled in the Niguarda district of Milan, north of the city. Once you’re past the imposing gate, a hidden world unfolds—first an enormous Italian garden dotted with statues, then another large garden at the rear containing two amphitheaters. Villa Clerici’s interior rooms feature 18th-century frescoes, trompe l’oeil decorations, and coffered ceilings. It all feels opulent yet somehow restrained—sacred and slightly surreal…