Audrey Withers, the editor who commissioned it, appeared in the magazine’s November 1941 issue herself. She was seen with her staff in the basement of the magazine’s temporary headquarters on New Bond Street, wearing a plaid over-shirt and pillbox hat, putting the finishing touches on the issue amidst peeling walls and shattered glass. In the accompanying text, she declares, “Here is Vogue, in spite of it all,” with the power of a rallying cry. From the moment she took over as editor in 1940 at the age of 35, Withers was determined to provide readers with coverage of country houses and city fashion, while also addressing issues like food shortages and clothes rationing, all while offering glimpses of a nation and world at war. Despite being modest about her abilities, Withers rose through the ranks from a copy writer to editor, proving to be an unexpected but capable leader. In her autobiography "Lifespan," published in 1994, Audrey Withers acknowledged that she would not have been the right fit to edit Vogue at any other time in its history. However, her outspoken views on politics and social issues are finding resonance in today's world of pandemic, unemployment, and unrest. Withers' left-of-center politics and willingness to speak out against injustices are the focus of Julie Summers' biography "Dressed for War," which was released in February. Despite the challenges facing the publishing industry, Withers is being seen as a role model for a new generation in these turbulent times. In January 1960, Audrey Withers was photographed by Lord Snowdon and was once known as 'the most powerful woman in London'. After her death in 2001, she has found a kindred spirit in Edward Enninful, the current editor of British Vogue. Enninful, who champions inclusivity and social progress, featured three essential workers on the magazine's cover in his July issue - a train conductor, a midwife, and a supermarket clerk, along with others inside. This echoes a series by Irving Penn commissioned by Withers, which portrayed men and women in traditional blue-collar jobs. Enninful acknowledges that Vogue is not typically known for focusing on everyday life, but believes these women are the perfect representation of the millions of people in the UK who bravely worked during the pandemic. This tribute comes at a time of change for fashion magazines. Harper's Bazaar has announced that Samira Nasr, previously the executive fashion director of Vanity Fair, will be taking over as the new editor of the magazine following Glenda Bailey's departure in January. Nasr will be the first black editor of the publication. In a video announcing her new role, Nasr expressed her commitment to providing a platform for all voices to share stories that may have otherwise gone untold. Meanwhile, at American Vogue, Anna Wintour, editor in chief and artistic director of parent company Condé Nast, is facing calls for accountability on issues of race and class, which have been heightened during recent changes in leadership at Bon Appétit magazine. In his recent memoir, "The Chiffon Trenches," former Vogue mainstay André Leon Talley presents Anna Wintour, his former friend and boss, as cold and unfeeling, motivated primarily by a desire to maintain her power and influence. Despite her recent public support of Joe Biden and efforts to support designers during the pandemic, some believe it is time for a new leader in the fashion industry. Former editor Phillip Picardi suggests that a change in mindset is necessary for the industry to evolve. Picardi suggested that the idea of leadership in society needs to be reimagined. Some believe that expecting editors to lead conversations through words or pictures is unrealistic in today's world. With media becoming more democratic, authoritarian magazine editors may no longer be relevant. Samir Husni suggested that the era of celebrity editors is coming to an end. During times of turmoil, readers are increasingly trusting brands rather than individual editors, according to media consultant Michael Wolf. He believes that readers are not seeking editors as role models, but instead prefer someone like Diana Vreeland, who was driven by a strong sense of purpose rather than personal ambition. Vreeland argued that in times of crisis, fashion magazines should not ignore political issues. Withers wrote to Woolman Chase that giving tacit approval to the status quo is just as political as advocating for change. She reinforced this belief by sending journalists like Beaton and Lee Miller to the front lines. Withers, born in 1905 into a free-spirited family, was educated at Oxford and worked in a bookshop and publishing house before joining Vogue. Known as "Austerity" to staff, she encouraged readers to do more with less, urging them to grow their own food, preserve goods, and mend clothing instead of shopping. Withers led by example in her own wardrobe, rotating three suits and blouses for work, one wool dress for evenings, and casual attire off-duty. When restrictions were imposed on the materials used in civilian clothing, she sought advice from the British Board of Trade to create affordable utility fashions for her readers, emphasizing the importance of simplicity in fashion. She cleverly incorporated glowing accessories into her pages during London's blackouts and promoted short hairstyles for female factory workers to prevent accidents. She also assigned Miller to cover significant events such as the siege of Saint Malo, the liberation of Paris, and the death of Hitler, resulting in powerful and impactful photographs from war-torn Normandy. She recorded the events at Buchenwald, including the sight of emaciated bodies stacked up, but only published a small photo. Withers also had journalist Jane Stockwood report on the atrocities of Nazi occupation in France, including the shortages of basic necessities and the horrifying massacre at Oradour-sur-Glane. Summers notes that while this may not have been what Vogue readers expected, Audrey was determined to make them understand and continued to push for coverage of important issues. Picardi believes that separating political and social justice coverage from fashion magazines sends the message that these issues are not connected. The knowledge I have gained is that they are not. (c.2020 The New York Times Company)