Audrey Withers, the editor who commissioned it, made an appearance herself in the magazine’s November 1941 issue. She was seen in a plaid over-shirt and pillbox hat, working with her staff in the basement of the magazine’s headquarters on New Bond Street, putting the final touches on the issue despite the dilapidated surroundings. In the accompanying text, she declares, "Here is Vogue, in spite of it all," which served as a rallying cry from a woman who, since taking over as editor in 1940 at 35 years old, was determined to provide readers with a mix of lifestyle content and real-world struggles during wartime. With a humble background as a copy writer and administrator, Withers was an unexpected choice for the job. In her 1994 autobiography "Lifespan," Audrey Withers acknowledged that she would not have been the right fit to edit Vogue at any other time in its history. However, her words are now being rediscovered and shared on social media, as they resonate in today's world of pandemic, unemployment, and unrest. Withers, known for her left-of-center politics and outspokenness, criticized the right-wing tactic of remaining silent to maintain the status quo. Her biography, "Dressed for War" by Julie Summers, explores her ability to navigate challenges during a tumultuous era. Withers, once considered the most powerful woman in London, is now seen as a role model for the current generation in the midst of a difficult political and publishing climate. Audrey Withers, who was photographed by Lord Snowdon in January 1960 and was once known as ‘the most powerful woman in London’, passed away at the age of 96 in 2001. The current editor of British Vogue, Edward Enninful, has been compared to Withers for his dedication to inclusivity and social progress. In the July issue of the magazine, Enninful features three essential workers on the cover - a train conductor, a midwife, and a supermarket clerk - along with a variety of others inside. This echoes a series by Irving Penn, which Withers had commissioned, depicting men and women in traditional blue-collar roles. Enninful acknowledges the departure from Vogue's usual content in his editor's letter, recognizing the importance of honoring those who worked tirelessly during the pandemic. This tribute comes at a time of change for fashion magazines. Harper's Bazaar has announced that Samira Nasr, formerly the executive fashion director of Vanity Fair, will be taking over as editor following Glenda Bailey's departure in January. Nasr will be the first black editor of the magazine and has expressed her commitment to providing a platform for all voices. Meanwhile, at American Vogue, Anna Wintour is under scrutiny for issues of race and class, particularly in light of recent changes at Bon Appétit. In his new memoir, "The Chiffon Trenches," André Leon Talley describes Anna Wintour as unfeeling and determined solely by her own ambition to succeed as a powerful figure. Wintour, who has been rumored to be nearing retirement, has recently been presenting herself as progressive, endorsing Joe Biden and launching a fundraising initiative to support designers. Some believe it is time for a change in leadership in the fashion industry, with former editor Phillip Picardi suggesting a new mindset is needed. Picardi proposed that the concept of leadership in society needs to be reimagined. He believes that society is moving away from the idea of one person being above all others. On the other hand, Ariel Foxman argues that expecting editors to lead discussions or provide innovative content is unrealistic in today's media landscape. Samir Husni also believes that the traditional celebrity editor is becoming obsolete as media becomes more democratized. During times of turmoil, readers are more likely to trust a brand rather than an individual editor. Michael Wolf, a media consultant, believes that editors do not need to be seen as glamorous figures, and readers may prefer someone like Withers, who is driven by a sense of purpose rather than self-promotion. Withers argued that in times of crisis, fashion magazines should not ignore political issues. In a letter to Woolman Chase, she expressed the idea that by giving silent approval to the current state of things, one is just as politically engaged as actively advocating for change. She further supported this belief by sending journalists like Beaton and Lee Miller to the front lines. Withers, born in 1905 into a family of free-thinkers, was educated at Oxford and worked in a bookshop and briefly at a publishing house before joining Vogue. Known affectionately as "Austerity," she encouraged readers to be resourceful during times of scarcity by growing their own food, preserving, and repairing and reusing items in their wardrobes. She set an example of minimalism in her own wardrobe, with only a few suits and blouses for work, a wool dress for evenings, and casual attire for off-duty days. When restrictions were placed on the amount of labor and material used in civilian clothing, she sought advice from the British Board of Trade on creating affordable utility fashions for her readers and emphasized the importance of simplifying. She humorously responded to London's nightly blackouts by featuring glowing hatpins and brooches in her magazine, along with stylish gas mask totes. Concerned about the safety of female factory workers, she promoted short haircuts to prevent accidents. Her most groundbreaking decision was to send Miller to report on the events in Saint Malo, Paris, and Hitler's death during the war. As Vogue's war correspondent, Miller captured powerful images, including a heartbreaking scene in a bombed-out Normandy village. She recorded the events of the liberation of Buchenwald, including the sight of emaciated bodies stacked up, although she only published a small photograph. Withers asked journalist Jane Stockwood to write about the hardships faced during Nazi occupation in France, such as the lack of food, electricity, and water, 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 important for Audrey to make them understand, and she continued to push for this. This kind of dedication could help revive fashion magazines. Picardi mentioned that when we separate political and social justice coverage from fashion magazines, we are essentially saying that they are not related. "What I have discovered is that they are not." - c.2020 The New York Times Company.