For spring, designer Simone Rocha rethought Regency-era beauty—think: the soft paper curls and rouged cheeks of Jane Austen heroines—through a more modern and wearable lens. "The challenge was how do I translate this in a modern and unfamiliar way?" said hairstylist Cyndia Harvey, who gave the model's tightly-wound ringlets a more "offset and easy" shape, some topped with crystal-encrusted headpieces, while makeup artist Thomas de Kluyver shaded brows, cheeks, and lids in off-kilter green, orange, and gold pigments to subversive effect. From neon green hair to sky blue lashes, there were a myriad of beauty statements at Charlotte Knowles. But most striking of all were the shimmering, '90s-inspired body art designs dreamed up by de Kluyver. From butterflies along the collarbones to abstract lines and shapes along bare torsos, his body jewelry creations, cast in twinkling crystals and shiny pearls, were the ultimate It accessory.
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For Vogue Italia’s September issue, the publication released 100 different covers, with each featuring a different personality with a compelling story or background. The unifying theme was that each person—from models to artists—represents the idea of hope, and brings it to the fashion industry in some form or another. The project featured names such as Indya Moore, one of Hollywood’s most prominent LGBTQ+ activists, and Ugbad Abdi, the Somali-born model who continues to challenge stereotypes about Muslim women. One lesser-known (as of now) cover star was Denali White Elk, an 18-year-old Indigenous model whose first job as a model was the Vogue cover.
