Vogue November 2025

AWARDS SEASON IS ALMOST UPON US, and there’s that perennial excitement of having so many movies to see—this is the best time of year if you care about film. And caring about film has taken on extra urgency of late. As we all know the industry is going through a period of upheaval: Audience behavior is changing, financial pressure weighs heavily on movie productions, and there is impending consolidation everywhere you look. Change is inevitable and not always to be feared, but when it comes to an industry like this one, a home and a livelihood for so many creative people, the stakes seem inevitably higher. Fashion cares deeply about all of this, of course, for movies and fashion have long been intertwined and interdependent. That is the starting point…

No doubt there was some moment in my many decades of knowing Giorgio Armani when I finally felt comfortable enough to call him Giorgio instead of Mr. Armani, but it took time. Giorgio inspired immense admiration for his achievements and also for his unwavering way of seeing the world and how we might look and live in it. Since everything he did was powered by a ferocious and indefatigable work ethic, addressing him—even with the formal “Mr.”—brought with it a kind of trepidation. He could be steely, and tough, and uncompromisingly direct when he wanted to be (I certainly saw that side of him on more than one occasion). But this was his persona—his buffer—and it served him well. If Giorgio’s clothes were always clear in their intent—like Coco Chanel,…

The Big Picture To honor Vogue World: Hollywood’s spirited celebration of fashion and film, “Scene Stealers” (page 114), shot by Ethan James Green and styled by Vogue contributing fashion editor Alex Harrington, includes custom looks by the likes of Valentino, Louis Vuitton, and Balmain coupled with dazzling original costumes from Barry Lyndon (above, on model Angelina Kendall), Black Panther, Dune, and other major motion pictures. Their common thread, per four-time Oscar nominee Arianne Phillips? “The most successful costumes help inform the time, place, and who the character is—which in turn helps tell the story.” Crewing Up “Behind the Cameras” (page 146)—a tribute to Hollywood’s off-screen talent, photographed by Alec Soth and styled by contributing fashion editor Max Ortega—spotlights a rangy group of producers, writers, boom operators, animal wranglers, and other…

When I was 14, my mother fell in love with a man named George. He was short and stout, bald except for a trim ridge of gray around the back. He wore thick glasses with clear plastic frames and had a pursed mouth that could burst into a delighted O that altered his whole face when you made him laugh. My mother and I moved out of our apartment across town and into his house the weekend of their wedding. On the little pad of paper in the kitchen, George left my mother cryptic messages before he went to work at a bank in Boston, which I could make no sense of but made her chuckle when she found them. In his station wagon, at the table, on our walks…

I was feeling deeply anxious ahead of my daughter starting school this fall; the previous year had been marred by troubling incidents with her peers. There was also a nagging worry about an aging parent’s health, plus work was wearing me out, and my sleep was disjointed. I needed some support, but my therapist was MIA, and it didn’t feel quite right to bother a friend with these mundane but persistent troubles. So I did what we all do, all day long, and picked up my phone. I wasn’t searching for a new therapist, but rather treating my device as a stand-in: dictating my foibles and watching them pop up as predictive text. It was disconcerting, disclosing my inner life to the same device I use to order groceries and…

Fall means bounty in movies: Abundance is everywhere. The filmmaker Richard Linklater, never less than prolific, has two new films. There’s Blue Moon (October), a witty, piercing study of creative decline, focused on the Broadway lyricist Lorenz Hart (Ethan Hawke) holding court at Sardi’s on the opening night of Oklahoma!—a musical he did not write. That would be the triumph of his songwriting partner Richard Rodgers (Andrew Scott) with a new rival: Oscar Hammerstein II (Simon Delaney). Hawke has never been better—electric with jealousy and pride—as he blusters, drinks, and flirts with Yale student Elizabeth Weiland, played by Margaret Qualley. He’s a genius with his light going out. Linklater’s Nouvelle Vague (October) tells the opposite story: Jean-Luc Godard (Guillaume Marbeck) is finally taking his stab at feature filmmaking at 28…