Audrey Withers, the editor who commissioned it, was featured in the magazine's November 1941 issue, looking neat and composed in a plaid over-shirt and pillbox hat as she worked with her staff in the basement of the magazine's temporary headquarters on New Bond Street. Despite the backdrop of peeling walls and shattered glass, Withers declared, "Here is Vogue, in spite of it all," conveying a sense of determination. Taking over as editor in 1940 at the age of 35, Withers was committed to providing readers with a mix of content, from coverage of country houses and city fashion to practical advice on dealing with food shortages and clothes rationing, all while offering glimpses of a nation and world at war. Rising through the ranks from a copy writer and administrator, Withers saw herself as an unlikely choice for the position. Audrey Withers acknowledged in her autobiography "Lifespan" that she would not have been suited to edit Vogue in any other era. Despite this, her words are currently resonating with many during a time of pandemic, high unemployment rates, and social unrest. With her left-of-center politics and outspoken views on maintaining the status quo, Withers is the focus of Julie Summers' biography "Dressed for War," which praises her ability to navigate challenges during chaotic times. Withers, once considered the most powerful woman in London, is now seen as a role model for a new generation facing similar challenges in the publishing industry. A photograph of Audrey Withers taken by Lord Snowdon in January 1960 once earned her the title of 'the most powerful woman in London'. The former British Vogue editor, who passed away in 2001 at the age of 96, is being honored by the current editor, Edward Enninful. Enninful, a strong advocate for inclusivity and social progress, has featured three essential workers on the cover of the July issue - a train conductor, a midwife, and a supermarket clerk. This tribute to essential workers pays homage to a series commissioned by Withers in the past, where men and women in traditional blue-collar jobs were showcased. Enninful acknowledges in his editor's letter that Vogue is not typically known for focusing on everyday life, but believes that these essential workers represent the millions of people in the UK who risked their lives to help others during the pandemic. This tribute comes at a time of change for fashion magazines. Harper's Bazaar has revealed that Samira Nasr, who previously held the position of 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 prestigious Hearst publication. In a video announcing her new role, Nasr expressed her commitment to providing a platform for all voices to share untold stories. Meanwhile, Anna Wintour, editor in chief of American Vogue and artistic director of Condé Nast, has been facing scrutiny over issues of race and class, particularly in light of recent changes at Bon Appétit. In his new memoir, "The Chiffon Trenches," André Leon Talley depicts his former friend and boss, Anna Wintour, as cold and ruthless, driven by her own survival and power. Wintour, who has been rumored to be retiring soon, has positioned herself as a progressive by endorsing Joe Biden in Vogue's May issue and launching a fundraising initiative in the June/July issue. Some believe it is time for a new leader in the fashion industry, with former editor Phillip Picardi advocating for a change in mindset. Picardi suggested that the idea of leadership needs to be reimagined. He believes that society is moving away from the traditional concept of one person being above all others. Ariel Foxman, a writer and former editor of InStyle, believes that expecting editors to lead conversations or offer innovative context is unrealistic. In today's media landscape, where democratization is on the rise, authoritarian magazine editors may no longer be relevant. Samir Husni, director of the Magazine Innovation Center at the University of Mississippi, believes that the era of the celebrity editor is coming to an end. During times of uncertainty, readers are more likely to trust a brand rather than an influential editor. Michael Wolf, a media consultant, believes that editors do not need to be seen as glamorous figures, and readers may be drawn to someone like Withers who is driven by a sense of purpose rather than fame. Withers believed that it is important for fashion magazines to address political issues during times of crisis. In a letter to Woolman Chase, she expressed the idea that by silently accepting the way things are, one is just as politically involved as actively pushing for change. She supported this belief by sending journalists like Beaton and Lee Miller to the front lines. Withers, born in 1905, came from an intellectual family and was educated at Oxford before working at Vogue. Known as "Austerity" among staff, she encouraged readers to be resourceful during times of scarcity by growing their own food, preserving goods, and repurposing items in their wardrobe. She set an example by having a small wardrobe herself, consisting of a few suits, dresses, and casual wear. She reached out to the British Board of Trade to create affordable utility fashions for her readers by limiting the labor and materials used. She emphasized the importance of simplicity in fashion by encouraging readers to pare down. In response to London's blackouts, she incorporated glowing accessories and gas mask totes into her pages. She advocated for cropped hairstyles to prevent female factory workers from getting their hair caught in machinery. As Vogue's war correspondent, Miller covered events such as the siege of Saint Malo, the liberation of Paris, and the death of Hitler, capturing powerful images in bombed-out villages. She recorded the events at Buchenwald, including the sight of emaciated bodies, but only published a small photo. Withers also had Jane Stockwood write about the hardships of Nazi occupation in France, including the massacre at Oradour-sur-Glane. Audrey was determined to make readers understand these important issues, even if it wasn't typical Vogue content. This dedication to social justice could help rejuvenate fashion magazines. Picardi believes that separating political and social justice coverage from fashion sends the message that they are not connected. "What I have come to understand is that they do not exist." - c.2020 The New York Times Company.