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    Kamala Harris lands second Vogue cover: ‘The candidate for our times’

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    Kamala Harris has landed her second US Vogue cover on Friday with a photograph by Annie Leibovitz that reads: “The candidate for our times.”“Only rarely are individuals summoned for acts of national rescue, but in July, Vice President Kamala Harris received one of those calls,” the glossy magazine, which has previously endorsed the candidate, said on X. “With President Joe Biden’s decision to end his reelection campaign, the world looked to Harris with hopes and doubts.”But the accompanying 8,000-word profile elicited little new about Harris’s policy positions if she is elected in November.“One of my first calls – outside of family – will be to the team that is working with me on our plan to lower costs for the American people,” she told the magazine.“It’s not just about publishing something in a respected journal. It’s not about a speech. It’s literally about, How does this hit the streets? How do people actually feel the work in a way that benefits them?”On the widening war in the Middle East, Harris said that while she could not anticipate the future, she would focus on creating “‘incentives’ for de-escalation and a ‘pathway’ for stability” and spoke of “Israel’s right to defend itself” and Palestinians’ “right to dignity, security, freedom, and self-determination”.“There’s been a language and a conversation around what’s been happening, particularly around Israel and Gaza, that suggests that this is binary. It’s not,” she said, adding: “You’re not either for this one or for that one.“A lot of the work that needs to be done,” Harris continued, “is a function of the circumstances at the moment. I can’t anticipate what the circumstances will be four months from now.”The publication spoke to the former House speaker Nancy Pelosi, who was deeply involved in the effort to oust Biden from the ticket after the president’s disastrous debate performance with Donald Trump in June.Pelosi said: “We had wanted – we thought that there would be – an open convention” and Harris had recognized the conflicts within the Democratic party.“It was easy for people to come to her because they knew she didn’t have bad feelings toward them,” Pelosi explained. “And then she – boom! – one, two, three, wrapped it all up. It was a beautiful thing.”The cover photo is likely to stir up less drama than a previous Vogue portrait three years ago that provoked a backlash for what critics deemed a lack respect for the first person of Black and south Asian descent sworn in as vice-president after she was photographed in sneakers.“Vogue robbed Harris of her roses,” wrote the Washington Post fashion critic Robin Givhan. “A bit of awe would have served the magazine well in its cover decisions. Nothing about the cover said, ‘Wow.’ And sometimes, that’s all Black women want, an admiring and celebratory ‘wow’ over what they have accomplished.”Vogue later amended the online picture with a more flattering image.“Obviously we have heard and understood the reaction to the print cover,” the editor-in-chief, Anna Wintour, told the New York Times, “and I just want to reiterate that it was absolutely not our intention to, in any way, diminish the importance of the vice-president-elect’s incredible victory.” More

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      Mary McFadden, Celebrated Designer of Shimmering Dresses, Dies at 85

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      She took symbols from ancient cultures and translated them into intricate embroideries, beadings and paintings on clothes worn by the likes of Jacqueline Onassis.Mary McFadden, a fashion designer who was famous not just for her shimmering, pleated dresses, which cascaded freely to the floor, but also for her visage — stark white Kabuki-style makeup and bluntly cut ebony hair — died on Friday at her home in Southampton, N.Y. She was 85.Her brother John McFadden said the cause was myeloma dysplasia.Ms. McFadden took symbols from ancient cultures — the phoenix from China, shadow puppets from Indonesia — and translated them into intricate embroideries, beadings and paintings on her clothes.At Mary McFadden Inc., the company she ran from 1976 to 2002, she designed pleated dresses that she said she wanted to fall “like liquid gold” down a woman’s body. They were similar to those made by Mariano Fortuny and Henriette Negrin early in the 20th century, but they were made from a synthetic charmeuse that she sourced in Australia, dyed in Japan and machine-pressed in the United States — a fabric she patented in 1975 and called Marii.She designed dresses that resembled those worn by the women sculpted on the caryatids at the Acropolis in Greece, and her models imitated their poses for fashion shoots under the pediment of the New York Public Library. Jacqueline Onassis was among those who wore McFadden gowns.Ms. McFadden was the first female president of the Council of Fashion Designers of America. She served in that position from 1982 to 1983.The author, pianist and composer Christopher Mason said that he often ran into Ms. McFadden in the late 1980s and ’90s, and that he once found himself seated next to her at a dinner hosted by the Irish model Maxime de la Falaise for her daughter, Loulou.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jack Schlossberg Is Named a Political Correspondent for Vogue

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      Mr. Schlossberg, 31, the only grandson of President John F. Kennedy, has courted attention with outlandish TikTok videos, many of them political.There is no shortage of pundits in the media class eager to help Americans understand the current political moment. Not many of them had over 100,000 followers on TikTok before starting their gig.Jack Schlossberg did.In his playful way, Mr. Schlossberg, 31, has captured the attention of his social-media-native audience. Whether that is because of his remarkable resemblance to his uncle, John F. Kennedy Jr., or because of his ability to distill complex Supreme Court rulings into bite-size videos, it’s hard to say.As one of the most prominent members of the Kennedy family, America’s most enduring political dynasty, Mr. Schlossberg has always borne some expectation of being involved in public life.“I am inspired by my family’s legacy of public service,” Mr. Schlossberg, who is the only grandson of President John F. Kennedy, recently told Vogue. “I take that very seriously, and I want to contribute in my own way. I have big dreams, but I also know that I’m trying to make a positive impact today.”This week, the magazine announced that Mr. Schlossberg would be a Vogue.com political correspondent. Through a publicist, Mr. Schlossberg declined to be interviewed for this article, as he was “currently focused on producing his content for Vogue,” suggesting that, despite describing himself as a “silly goose,” he is taking the role seriously.Chloe Malle, the editor of Vogue.com, said she saw his appointment as an opportunity to influence the magazine’s readers to vote.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jill Biden Is Vogue’s Cover Star

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      During the most challenging period of President Biden’s re-election bid, the first lady appears on the cover of a high-fashion bible.The August cover of Vogue featuring Dr. Jill Biden was released online Monday — four days after the big debate — and brought with it a fresh round of scrutiny over her role as a die-hard campaigner for her husband, who is locked in a nail-biting campaign for re-election.During much of President Biden’s term, the first lady was a figure of minimal controversy. That began to shift when campaign season heated up. Laura Ingraham of Fox News claimed that Dr. Biden was covering up the president’s unfitness out of her own desire for political power and prestige. Sounding the same theme, The Daily Caller, a right-wing website, began referring to her as “Lady Mac-Biden.”Dr. Biden took center stage after Mr. Biden struggled to finish his sentences during a dismal debate performance on Thursday against former President Donald J. Trump. Afterward, The New York Times reported that Dr. Biden was the first person he had turned to: “The first lady’s message to him was clear: They’d been counted out before, she was all in, and he — they — would stay in the race.”On the Vogue cover, Dr. Biden wears a white Ralph Lauren tuxedo dress. She was photographed in the spring by Norman Jean Roy, whose recent contributions to Vogue include portraits of Nicki Minaj, Alicia Keys and the White House press secretary, Karine Jean-Pierre. The accompanying profile of the first lady, by Maya Singer, describes her as a “vision of calm amid utter cacophony.”Dr. Biden has been on the cover of Vogue twice before. Tina Brown, the former editor of Vanity Fair and The New Yorker, noted that an appearance on the Vogue cover is a “rite of passage” for first ladies. Still, Ms. Brown added, the implications of Dr. Biden’s appearance on the cover of a fashion magazine are “always a risk.” And at this moment, the Vogue cover “is not particularly helpful,” she added.Soon after the magazine posted the cover image to its Instagram account on Monday, the comments were overwhelmingly negative. Some were from Trump supporters who took Dr. Biden’s appearance as an opportunity to complain about the fact that Melania Trump had been passed over for a Vogue cover when she was first lady. A number of other critical remarks seemed to come from Democrats, one of whom argued that Dr. Biden was pursuing her and her husband’s own ambitions “at the expense of Americans safety and happiness.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Kim Kardashian Stuns Met Gala in Corset That Leaves Little Room to Breathe

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      Kim Kardashian created a hoo-ha at the 2022 Met Gala when she admitted to going on a crash diet to fit into the Marilyn Monroe “Happy Birthday Mr. President” dress she wore to pose on the museum steps.This year, however, she engaged in a different kind of body modification via the extreme corseting of the Maison Margiela by John Galliano couture dress she wore, cinched so tight at the waist it turned her figure into an hourglass version of the X Games. It was to tight, it was hard to imagine how she could breathe — let alone eat once inside the museum.Viewers on social media immediately took notice. “Kim Kardashian honestly looks so uncomfortable and like she can barely move or even breathe,” posted one observer. “Fashion shouldn’t be like that.”“Everyone is snatching their waist,” another wrote on X. “They said the one rule in the garden of time is no breathing, from Bad Bunny to Kim Kardashian.”The corseting had been a feature of Mr. Galliano’s much ballyhooed January Margiela couture show, where it had been worn by both men and women, and where “making of” photographs on Mr. Galliano’s mood boards displayed the bruises left on the models’ flesh by the lacing. (Ms. Kardashian had been in the front row of that show.)In the incarnation worn this time around by Ms. Kardashian, the corset was re-imagined in an antique silver brocade, and paired with a sheer silver metal skirt covered in lacy flowers, twigs, and mirror shards, to reflect the evening’s dress code, “The Garden of Time.” The idea of suffering for fashion, it turns out, is everlasting.Gina Cherelus More

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      Struggling to Understand TV Dialogue? Join the Club.

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      More from our inbox:Airbrushing Older ModelsHaley’s Raised HandSea Life in CaptivityDerek AbellaTo the Editor: Re “Huh? What? There Are Ways to Improve the Sound on Your TV?” (Business, Aug. 18):As an American expat, I got a good chuckle out of Brian X. Chen’s article about poor dialogue sound quality in streaming. The premise, that using subtitles is a terrible inconvenience that diminishes one’s enjoyment of video entertainment, is one of those peculiarly American complaints that seem bizarre to many people overseas.In Chinese-speaking areas and other parts of East Asia, the wide variety of languages, accents and usages can make it tough to comprehend dialogue regardless of sound quality, so video nearly always comes with subtitles, whether it’s on TV, in a movie theater or online. Nobody here seems to mind.Indeed, the people in Malaysia who build the Sonos equipment that Mr. Chen praised must be thrilled that Americans will spend $900 on soundbars to avoid those irritating subtitles.Michael P. ClarkeTaoyuan City, TaiwanTo the Editor:We do not have to bring speakers to a movie theater to watch a movie and we should not have to put speakers on our TV sets to enjoy a television show. Modern television sets should come with high-resolution pictures and high-quality, audible sound. The quality of the sound is as important as the quality of the picture. We should not have to buy soundbars.Bill ChastainNew YorkTo the Editor:I’ve used closed captioning for a while now, not only because the sound quality on streaming services is far from as good as it should be but also because programs produced in England — many of the shows on PBS, which I like — use a lot of slang and hard-to-understand dialects.But a major problem is that some of the streaming services, like Netflix, have closed captions that are far from helpful. They come on well before or well after the spoken words, and too often they flash on so fast that it is impossible to read the entire line of dialogue.Michael SpielmanWellfleet, Mass.To the Editor:Brian X. Chen suggests that we can hear the dialogue in movies and television shows better by installing new equipment. Along with the attempts at improvements made by directors and sound mixers, producers might insist upon better diction from the actors.I’ve noticed this slurring and breathy quality in stage performers, too. Perhaps Broadway shows need closed captioning?Lawrence RaikenQueensAirbrushing Older ModelsRafael Pavarotti/VogueTo the Editor: Re “Do Supermodels Age, or Get Airbrushed Instead?” (Sunday Styles, Aug. 20):The timing couldn’t be more prescient. Just as Greta Gerwig’s irreverent blockbuster “Barbie” is sweeping theaters around the world, Vogue has released its iconic September issue featuring the likes of America’s supermodels — Linda Evangelista, 58, Cindy Crawford, 57, Christy Turlington, 54, and Naomi Campbell, 53 — on its cover.As Vanessa Friedman aptly remarks, they are “paragons of mature beauty whose years have seemingly been smoothed from their faces,” which “look so retouched that they seem more like A.I.-generated bots than actual people.” A Vogue spokeswoman claimed there was only “minimal retouching.” We know better.Although we can surely applaud Vogue’s decision to feature 50-something models on its cover, “retouching” them is perpetuating a big lie. It is, in effect, “Barbiefying” them. Barbie was the icon that fed upon young girls’ feelings of inadequacy. Now older women can gaze at Vogue’s cover and feel inadequate too. Thank you, Vogue.If Vogue, “the fashion Bible,” had elected not to retouch these mature beauties, it would have been a truly groundbreaking event. Certainly a missed opportunity.Thank you, Vanessa Friedman, for speaking truth to Vogue. As Ms. Gerwig’s Barbie comes to realize, “It’s time to change the Constitution.”Elizabeth LangerNew YorkThe writer is a co-founder of the Women’s Rights Law Reporter, the first U.S. journal devoted to women and the law.To the Editor:I laughed this morning reading Vanessa Friedman’s column at the silliness of an article criticizing the airbrushing of aging models. The fashion industry runs on unrealistic representations of beauty. Why should those standards be different for older models?I’ve attended fashion shoots where young models had terrible acne that was ultimately airbrushed out. It seems that, no matter how young or beautiful a model is, there’s almost always flattering lighting and image manipulation. The industry runs on fantasy.So, whether or not older models have their wrinkles airbrushed seems irrelevant if everything is unrealistic. This is commerce. They aren’t profiling women curing cancer. At least now they’re democratizing fashion to allow older women to put their best selves forward, too.I hope they can continue to do that without being criticized for tricks of the trade. I think focusing on airbrushing undermines how great it is that Vogue is keeping women over 50 relevant.Jenifer VogtDobbs Ferry, N.Y.Haley’s Raised HandJoe Buglewicz for The New York TimesTo the Editor: Re “Nikki Haley Is the Best Alternative to Trump,” by David Brooks (column, Aug. 25):Wednesday night’s Republican debate persuaded Mr. Brooks that Nikki Haley is the best alternative to Donald Trump. Yet while Mr. Brooks makes a convincing case that Ms. Haley is a preferable candidate to Mike Pence, Ron DeSantis and especially Vivek Ramaswamy, he fails to address the fact that Ms. Haley, along with every other candidate on the stage except Chris Christie and Asa Hutchinson, raised her hand when asked if she would support Mr. Trump if he is convicted of one or more felonies and is the Republican nominee.I would ask Mr. Brooks how Ms. Haley’s raised hand shows that she is “one of the few candidates who understands that to run against Trump you have to run against Trump”? And should that not, by itself, render her unfit to become the next president of the United States?David A. BarryCambridge, Mass.Sea Life in CaptivityLolita during a performance at the Miami Seaquarium in 1995. She has been in captivity since 1970.Nuri Vallbona/Miami Herald, via Associated PressTo the Editor: Re “Lolita the Orca, Mainstay of Miami Seaquarium for 50 Years, Dies,” by Jesus Jiménez (news article, nytimes.com, Aug. 18):I know I am not alone in grieving the tragedy of the kidnapping of this orca, also known as Tokitae, her decades spent in captivity, and her untimely death just when freedom and the possibility of being reunited with her family in the Salish Sea were close enough to touch. Her sorrowful life story hurts all the more because our human collective doesn’t seem to have learned a thing from it.Orcas remain endangered and continue to struggle to hear each other and catch dwindling salmon in polluted waters that are choking with boat noise from unceasing human commercial and recreational activity. Worse, the captive industry carries on, including in Seattle, which is intent upon building a shiny new shark tank to imprison even more animals.My hope is that Tokitae’s death will galvanize support against the captivity industry locally and beyond, and serve as a beacon of hope for other beings languishing in tanks simply so that they can be ogled by humans. Let’s honor Tokitae and her bereaved family by ensuring that nobody else has to suffer similarly.Stephanie C. BellSeaTac, Wash. More

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      Kamala Harris and why politicians can’t resist Vogue (though it always ends in tears)

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      When Theresa May appeared in US Vogue in 2017, even her deliberately anodyne choice of a posh-end-of-the-high-street dress by British label LK Bennett did not prevent this newspaper calling the Annie Leibovitz shoot a “defining moment” which, “like Margaret Thatcher in the tank turret looking like a cross between Boudicca and Lawrence of Arabia … might easily become a signifier of all that is flawed in her prime ministerial style”. Michelle Obama’s bare upper arms appeared no fewer than three times on the cover of Vogue during her White House years, causing pearl-clutching uproar at the sight of her toned triceps.A political Vogue appearance is such a white-hot issue that it causes controversy even when it doesn’t happen. Donald Trump recently weighed in to complain about “elitist” Vogue having snubbed Melania, notable by her absence from the magazine over the past four years. Vice-president-elect Kamala Harris’s Vogue debut, in the February issue of the magazine’s US edition, is the latest in a long line of political covers to have caused a media storm. Sunday’s release on social media of the rather different newsstand and digital covers quickly fuelled a wave of criticism. Had Harris’s skin tone been “washed-out” by thoughtless or even culturally insensitive lighting? Was it disrespectful, on the newsstand cover, to present Harris wearing her battered Converse trainers, rather than giving her a stately makeover? Was Harris’s team led to believe that the more formal portrait in Michael Kors tailoring, apparently destined for digital editions, would appear on newsstands, too?Vogue has sprung to the defence of images that show Harris at “her casual best” in “styling choices that were her own”. Tyler Mitchell, who in 2018 became the first African American photographer to shoot a US Vogue cover, explains in an accompanying online article that a much-maligned pink-and-green backdrop was chosen to honour Harris’s sorority, Alpha Kappa Alpha, of which Mitchell’s aunt was also a member. Mitchell, who “grew up from a young age deeply understanding the rich history of these sororities and their significance … wanted the set design to pay homage to that history, to [Harris’] status as an AKA, and Black sororities and sisterhoods worldwide.”A Vogue appearance is rarely anything but controversial for women in politics, but the invitation remains apparently irresistible, nonetheless. To be a cover star – and especially for Vogue – is to be the avatar of a cultural moment. To have your image publicly displayed beneath that Vogue font is perhaps the closest any public figure will ever get to having their profile on a stamp or, while still living, their face on a banknote. And in an increasingly atomised media landscape, a Vogue cover is one of the few platforms with the cut-through to reach disparate audiences. It is shared on Instagram, discussed in newspapers, and on display at the supermarket checkout.When Hillary Clinton appeared on the cover of Vogue in 1998 it was in a floor-length velvet gown and pearl drop earrings, smiling beatifically from a stateroom banquette beside an urn spilling red roses. The letters of Vogue were spelt out – in gold – directly on top of the curlicued gilt frame of one of the wall’s oil paintings. The message was clear: a Vogue cover is as close to an official portrait as pop culture gets. Which is why the row around Vogue’s latest cover is not really about Mitchell’s lighting rig, or Harris’s shoes. Rather, these portraits are a lightning rod for a country grappling with a moment of cultural reckoning around gender, race and power.Harris’s stretchy black trousers are a little wrinkled around the knees, the kind of imperfection you might expect to have been smoothed out by a watchful assistantThe relaxed and smiling images were taken in the dizzy post-election relief of November, but landed online a few days after the storming of the Capitol had dialled the emotional tone of politics back up to febrile. This, perhaps, has left them out of step with the particular moment. In the more casual of the two portraits, Harris’s stretchy black trousers are a little wrinkled around the knees – just a tiny imperfection, but the kind that you might expect to have been smoothed out by a watchful assistant before the shutter clicked. Perhaps the informality was judged by the editorial team to chime better with the era of WFH dressing than slick tailoring. Perhaps it was intended to channel Harris’s now famous leggings-clad victory moment. (“We did it, Joe!”).Certainly, any likeness to the 2009 cover for Newsweek of Republican former vice-presidential candidate Sarah Palin, posing in her gym gear, is unintentional. Vogue editor-in-chief Anna Wintour, who after a close relationship with the Obamas has been in self-imposed exile from the circles of political power during Trump’s presidency, will surely be looking to align herself as friend and ally of the incoming Democrat administration.The current British Vogue is more overtly political than ever before, and wears its activist heart on its cover – the magazine equivalent of its sleeve. Recent cover stars have included frontline workers and the Man United and England striker Marcus Rashford who, as one of the most high-profile public figures driving legislation for progressive social change, surely counts as a political figure – and the prime minister of New Zealand, Jacinda Ardern, who was featured among 15 Forces for Change on the August 2019 cover.British politicians, however, have been notable by their absence. And should a flattering invitation find its way to a Westminster in-tray, it should be approached with caution. A Vogue cover is always a moment, but not always a flattering one. More

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      Vogue's Kamala Harris cover photos spark controversy: 'Washed out mess'

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      Vogue magazine became embroiled in a “whitewashing” controversy on Sunday when it tweeted photographs of its February cover star, Kamala Harris.Two images of the US vice-president-elect were released. One, a full-length shot in front of what appeared to be a glossy pink silk drape, drew the ire of social media critics.One user called it a “washed out mess of a cover”. “Kamala Harris is about as light skinned as women of color come and Vogue still fucked up her lighting,” the observer wrote.Others criticized Vogue’s editor-in-chief. “What a mess up,” wrote New York Times contributor Wajahat Ali. “Anna Wintour must really not have Black friends and colleagues. I’ll shoot shots of VP Kamala Harris for free using my Samsung and I’m 100% confident it’ll turn out better than this Vogue cover.”Last year, Wintour apologized to staff members in a letter for “mistakes” in publishing photographs and articles seen as insensitive to minorities.“Vogue has not found enough ways to elevate or give space to Black editors, writers, photographers, designers, and other creators,” Wintour wrote. “We have made mistakes too, publishing images or stories that have been hurtful or intolerant. I want to take full responsibility for those mistakes.”Vogue denied to the New York Post it had lightened Harris’s skin after the shoot, but the assurance failed to quell the wave of disapproval.“The pic itself isn’t terrible as a pic. It’s just far, far below the standards of Vogue. They didn’t put thought into it. Like homework finished the morning it’s due,” the LGBTQ activist Charlotte Clymer tweeted.Vogue has not confirmed which of the two photographs it will use for its print cover, or if it will publish both. Each image was shot by Tyler Mitchell, who was 23 when he came to prominence photographing Beyoncé for Vogue in 2018.According to the Post, Harris and her team had control over her clothes, hair and makeup. She chose her own casual black jacket and pants and a pair of Converse Chuck Taylor boots for one photo, a powder blue Michael Kors pantsuit for the other.Harris’s appearance on the Vogue cover is likely to attract the attention of Donald Trump, who complained last month that his model wife, first lady Melania Trump, had not graced a single magazine cover in his four years in the White House, having been snubbed by “elitist snobs” in the fashion industry.The previous first lady, Michelle Obama, featured in numerous fashion shoots, including the cover of Vogue in December 2016. More