Or, when the contents of the Vogue Closet fell onto a street in New York
Serena Williams opening Vogue World with an uninspired stroll
On the Vogue website, there was a black-and-white digital clock that had been ticking for days, counting down to an event that the brand/magazine did not describe in detail, possibly so that curiousity about it could be kept burning. Even Anna Wintour was mum about Vogue World: New York, as it is called, only hinting in the recently shared video 73 More Questions with Anna Wintour that it would involve lots of clothes, so much, in fact, that it required the “Vogue army” to organised them. Not even the venue was disclosed (was it even an IRL event?). It did eventually happen last night (New York time) on a street in Manhattan’s Meatpacking District, a now-“glamourous” hipster neighbourhood (its name gives you an idea of what it was before) that is sandwiched between Chelsea to its north and the West Village in the south. Much of the streets here are paved with cobblestones made of Belgian blocks. That Vogue would stage an event down here on streets that could be high heels’ enemy, rather than at some place glitzier and carpeted is perhaps indication that the magazine is making itself—and the brand—a lot more accessible.
It described Vogue World as a “first-of-a-kind event” and a “global” one. Although staged in New York, it was live-streamed to the rest of us nowhere near that part of the city. The show was also a celebration of the magazine’s 130th year. On account of that, it had to be big and boisterous. (And no one more so than Kanye West, who arrived late enough that, while walking to his seat, he was mistaken as a model.) The show was prefaced—somewhat inexplicably—by a group of runners exercising their legs in the dim light, some with what appeared to be flags flapping behind them, like capes. Then it opened with Vogue’s September-issue cover girl Serena Williams in Balenciaga cape and dress, who looked like she was not quite thrilled to be on the runway, sauntering while a voiceover of her saying how she wants to be remembered could be heard over the apt soundtrack of Arthur Russell’s This is How We Walk on the Moon.
‘Sports couture’ at Vogue World
Brooklyn Beckham and his wife Nicola Peltz enjoying themselves on the runway
Although Vogue World took place during New York Fashion Week, it was not quite a fashion show like the rest that were staged in the city at this time. This was a Chingay approach to fashion presentations. The carnival mood was unmistakable, with street-style performances between each fashion segment to pump up the revelry (the cultural part was there, too, when a trio of sari-clad girls came out to do their Bollywood number). The clothes, purported to show the trends of autumn/winter 2022, were not based on collections. They were single looks from many designers (name them and they were there), but you might not know or remember the styles unless you have an encyclopedic memory of what were mostly shown back in February and March. Who wore what was not identified for the benefit of viewers. Although Vogue had sussed out the supposed trends (there were five main ones, as vogue.com reported later), you can‘t help but feel that they were rather forced (gowns and boots!). And somewhat haphazardly grouped, rather luan (乱 or messy). Perhaps Lil Nas X’s performance (that began with the singer seated next to Ms Wintour) to wrap up the runway extravaganza was designed to play down that shortcoming.
Vogue World was not just a show. As it turned out, what the models and stars wore could be purchased, reviving the old see-now-buy-now model that brands introduced with enthusiasm some years back, but is now largely forgotten. You could go to the Vogue website and find the links to the items that caught your attention and shop away. If you need to try before buying, an AR element, conceived by Snapchat, allows you to virtually put on the clothes no matter where you are. Like its print form, this is to push purchases for their advertisers. Is vogue.com then also sort of an e-store, and did we see additional revenue streams for the multi-platform title? Is the site now into live-stream selling, minus an ebullient host? According to Vogue’s creative editorial director Mark Guiducci, the show is a reflection of “all the ways in which fashion is changing. It comes at a moment when designers have become multi-disciplinary creators, innovating how we engage with fashion—even virtually.”
Shalom Harlow, one of the many ‘supers’ in the final segment of the show
Lil Nas X starting his performance while seated next to a delighted Anna Wintour
Vogue World could be seen as a big-budget, celebrity-endorsed, brand-building exercise. It reminded us of the eponymous Fashion’s Night Out (also launched in New York), the just-as-flashy, get-people-shopping-again initiative that was launched on 10 September 2009, twelve months after the doomed Lehman Brothers filed for bankruptcy. The year 2009 also saw Barrack Obama sworn in as the United State’s first Black president and the perpetuation of the financial crisis and recession that hit two years earlier, in late 2007. Fashion’s Night Out was Vogue’s contribution to improving the grim retail climate then. It eventually spun off into international editions in different hub cities. Could Vogue World—presently linked to New York—too have other editions in cities where Vogue operates. There was, for example, a Fashion’s Night Out in Tokyo in 2008. In 2013, Fashion’s Night out in New York ended it’s increasingly disfavoured run. But in Tokyo, the event continued until 2020, but, due to the COVID-19 pandemic, took place as Fashion’s Night In—an online affair.
It is hard to say how Vogue World will pan out. The show might be enjoyable to those who were there to see it, but to some (perhaps more?) of us watching on our devices, it teetered discomfortingly close to blah. This was Vogue at its inclusive best. The community-arousing performance, with its strong street culture, would have won the approval of the late Virgil Abloh. But what else could we glean from it? Former British Vogue’s fashion director Lucinda Chambers, after she was “fired” by the then in-coming editorial head Edward Enninful in 2017, now considered the most powerful Condé Nast editor after Anna Wintour, told Vestoj in a revealing interview that “we don’t need any more bags, shirts or shoes. So we cajole, bully or encourage people into continue buying. I know glossy magazines are meant to be aspirational, but why not be both useful and aspirational?” And why not magazines’ promotional events too? This may be a Vogue World, but is it a new, better world?
Screen shots: vogue.com
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