Audrey Withers, the editor who was in charge of commissioning it, was featured in the magazine's November 1941 issue. She appeared composed and neat in a plaid over-shirt and pillbox hat, working with her staff in the magazine's temporary headquarters on New Bond Street, finalizing the issue amidst peeling walls and broken glass. In the accompanying text, she proudly declares, "Here is Vogue, in spite of it all." Withers' words were like a call to action, reflecting the determination of a woman who, since taking over as editor in 1940 at the age of 35, was dedicated to providing readers with a mix of coverage on country estates, city fashion, practical advice on dealing with food shortages and clothing restrictions, and sobering insights into a nation and world at war. Despite her humble beginnings as a copy writer and administrator, Withers emerged as a surprising choice for the position. In her autobiography "Lifespan," published in 1994, Audrey Withers acknowledged that she would not have been a suitable editor for Vogue at any other time in its history. However, her words are finding new relevance in today's world of pandemic, high unemployment, and social unrest. With her left-of-center political views and outspoken nature, Withers was critical of the right-wing tactic of remaining silent to maintain the status quo, while accusing the left of being "political" for advocating change. Julie Summers' biography "Dressed for War" explores Withers' response to the chaotic events of her time and her role as a powerful editor in London. In a challenging publishing landscape, Withers is being seen as a model for a new generation. Audrey Withers, who was once referred to as ‘the most powerful woman in London’ and was photographed by Lord Snowdon in January 1960, was the British Vogue editor until her death at 96 in 2001. Edward Enninful, the current editor of British Vogue, has been compared to her as a champion of inclusivity and social progress. In his July issue, Enninful features three essential workers on the cover - a train conductor, a midwife, and a supermarket clerk - along with a gallery of others inside. This echoes a series by Irving Penn that was commissioned by Withers, which depicted men and women in traditional blue-collar jobs such as a chimney sweep, a cobbler, a fishmonger, and a rag-and-bone man. Enninful acknowledges that Vogue is not known for chronicling everyday life but believes that these essential workers are the perfect representation of the millions of people in the UK who worked tirelessly during the pandemic. This tribute comes at a time of change for fashion magazines. Harper's Bazaar has revealed that Samira Nasr, previously the executive fashion director at Vanity Fair, will take 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, is facing scrutiny over issues of race and class, particularly in light of recent leadership changes at Bon Appétit. In his new memoir, "The Chiffon Trenches," André Leon Talley describes former Vogue colleague Anna Wintour as cold and determined, focused only on her own power and survival. Wintour, long rumored to be retiring, has recently made moves to present herself as progressive, endorsing Joe Biden in Vogue and launching a fundraising initiative for designers. Critics argue that it may be time for a new leader in the fashion industry, with some calling for a change in 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 feels that expecting editors to be the leaders in conversations is unrealistic. In a time where media is becoming more democratic, authoritarian magazine editors may no longer be relevant. Samir Husni, the director of the Magazine Innovation Center at the University of Mississippi, believes that the era of celebrity editors is coming to an end. During turbulent times, people are more likely to trust a brand rather than a single editor, according to media consultant Michael Wolf. He believes readers do not necessarily want editors to be seen as role models, but may prefer someone like Diana Vreeland, who was driven by a sense of purpose rather than a desire for fame. Vreeland argued that in times of crisis, fashion magazines should not ignore political issues. In a letter to Woolman Chase, she emphasized the importance of not passively accepting the status quo, but rather actively advocating for change. She supported her 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 as "Austerity" among staff, she encouraged readers to make the most of what they had during times of shortages by growing their own food, preserving, and repairing their clothing. She set an example by only owning a few outfits for work and leisure. When restrictions were imposed on the amount of labor and materials used in civilian clothing, she sought advice from the British Board of Trade to create a range of affordable utility fashions for her readers. She emphasized the importance of simplifying and reducing in fashion, stating that "Subtraction" is a key rule. In response to London's blackouts, she added glowing hatpins and brooches to her pages, as well as stylish gas mask totes. Concerned about female factory workers getting their hair caught in machinery, she promoted short hairstyles. She also took a bold step by assigning Miller to cover the siege of Saint Malo, the liberation of Paris, and the death of Hitler. As Vogue's war correspondent, Miller successfully captured powerful images, including a haunting scene in a bombed-out Normandy village where a dying man was being treated by medical personnel. She recorded the events of the liberation of Buchenwald, including the sight of many emaciated bodies, but only published a small photograph. Withers then hired journalist Jane Stockwood to write about the horrors of Nazi occupation in France, including the lack of basic necessities like food, electricity, and water, as well as the brutal massacre at the village of Oradour-sur-Glane. Despite concerns that this content might not appeal to Vogue readers, Audrey remained committed to ensuring they understood the important political and social issues at hand. This dedication to combining fashion with important social and political issues was seen as a way to revitalize fashion magazines. Picardi noted that separating political and social justice coverage from fashion coverage sends the message that these issues are not connected. "What I have discovered is that they are not." - Copyright 2020 The New York Times Company.