Audrey Withers, the editor who commissioned the article, appeared in the magazine's November 1941 issue. She was seen in a plaid over-shirt and pillbox hat with her staff in the basement of the magazine's headquarters on New Bond Street, 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 determination of a woman who, since taking over as editor in 1940 at age 35, was dedicated to providing readers with coverage of both luxury and practical topics such as coping with food shortages and clothing rationing during wartime. Withers, who started as a copy writer and administrator, was a modest figure who never expected to be chosen for the role. Audrey Withers acknowledged in her autobiography that she would not have been the right fit to edit Vogue at any other point in its history. However, her words are still relevant today, particularly in the midst of a pandemic, widespread unemployment, and social unrest. With her left-of-center politics and outspoken nature, Withers criticized the right-wing tactic of remaining silent to maintain the status quo. Her ability to navigate challenges during tumultuous times is explored in the biography "Dressed for War" by Julie Summers. Withers' legacy is being celebrated as a model for the current generation, as the publishing industry faces numerous challenges. Audrey Withers, who was photographed by Lord Snowdon in January 1960 and was once referred to as ‘the most powerful woman in London’, passed away in 2001 at the age of 96. The current editor of British Vogue, Edward Enninful, has been compared to her as both share a passion for inclusivity and social progress. In the July issue, Enninful showcases three essential workers on the cover — a train conductor, a midwife, and a supermarket clerk — along with a variety of others inside the magazine. This tribute to everyday heroes reflects a similar series commissioned by Withers, featuring men and women in traditional blue-collar jobs. Enninful acknowledges that Vogue is not typically known for chronicling everyday life, but he believes that these women represent the millions of people in the UK who bravely faced the challenges of 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 at Vanity Fair, will be taking over as editor following Glenda Bailey's departure in January. Nasr will make history as the first black editor of the publication. She expressed her commitment to giving diverse voices a platform in a video introducing her new role. Meanwhile, Anna Wintour, editor in chief of American Vogue and artistic director of Condé Nast, has faced criticism regarding issues of race and class, particularly with recent changes at Bon Appétit magazine. In his new memoir, "The Chiffon Trenches," former Vogue mainstay André Leon Talley describes Wintour as soulless and driven by her own survival as a power broker. Despite her recent progressive actions, such as supporting Joe Biden and launching a fundraising initiative for designers, some believe it is time for a change in leadership in the fashion industry. Former editor Phillip Picardi argues that the industry needs a new mindset. Picardi suggested that the concept of leadership in society needs to be reimagined. He believes that the idea of one person being above all others is becoming outdated. Ariel Foxman, a writer and brand consultant, also believes that expecting editors to be the leaders in conversations is unrealistic. In today's media landscape, where there is increasing democratization, authoritarian magazine editors may no longer be relevant. Samir Husni, the director of the Magazine Innovation Center at the University of Mississippi, also agrees that the era of the celebrity editor is coming to an end. During times of chaos, readers are more likely to trust a brand rather than a specific editor. Michael Wolf, a media consultant, believes that editors do not need to be seen as celebrities. Instead, readers may prefer a model like Withers, who is driven by a strong sense of purpose rather than a desire for fame. Withers herself believed that fashion magazines should not ignore politics during times of crisis. In a letter to Woolman Chase, she expressed that by silently approving of the status quo, one is just as political as actively advocating for change. She supported this belief by sending journalists like Beaton and Lee Miller to the front lines. Withers, born in 1905 into a liberal family, was educated at Oxford and had various jobs before joining Vogue. Nicknamed "Austerity," she encouraged her readers to be resourceful during times of scarcity, promoting activities like growing vegetables and making their own clothes. With a minimalist approach to fashion, she set an example by wearing a limited wardrobe of three suits, blouses, a wool dress, and casual attire. When restrictions were imposed on the use of labor and materials in civilian clothing, she sought advice from the British Board of Trade on creating practical and affordable fashion options for her readers, emphasizing the importance of simplicity. She responded creatively to London's blackouts by incorporating glowing accessories and stylish gas mask bags into her magazine pages. In response to concerns about women workers getting their hair caught in machinery, she promoted short hairstyles. Additionally, she assigned Miller to cover significant events such as the siege of Saint Malo, the liberation of Paris, and Hitler's death, resulting in powerful and impactful photography, including a haunting image of a dying man receiving medical treatment in a bombed-out Normandy village. She recorded the events of the Buchenwald liberation, including the sight of emaciated bodies piled up, but only published a small photo. Withers asked journalist Jane Stockwood to write about the hardships faced under Nazi occupation in France, such as food, electricity, and water shortages, as well as the tragic massacre at Oradour-sur-Glane, where SS officers killed 190 men and burned 452 women and children alive in a church. Summers notes that this may not have been what Vogue readers wanted to read, but it was necessary for Audrey to convey the truth. This strong dedication could help revitalize fashion magazines. Picardi emphasized the importance of including political and social justice coverage alongside fashion in magazines, as they are interconnected. "What I have come to understand is that they are not." - Copyright 2020 The New York Times Company.