Vogue World’s flurry of stars brings succour to London’s arts and hope to its fashion
There was Stormzy, and there was Shakespeare. There was a tribute to My Fair Lady, and there was Kate Moss and Naomi Campbell. There was opera by Henry Purcell, and hats by Stephen Jones; catsuits by Burberry and comedy by James Corden. A dizzying roster of cameo appearances included actors Damian Lewis, Sienna Miller and Harriet Walter.
Vogue World, a one-night-only performance at Theatre Royal Drury Lane on Thursday, was far and away the starriest opening night London fashion week has ever seen. The theme of the 37-minute show, linking Eliza Doolittle to Moss and a new Wayne McGregor ballet to a gospel choir, was London.
Erdem and Simone Rocha were among the designers who took time out from preparations for this weekend’s collections to design costumes for the show, but the most glamorous peacocking of the night took place in the lobby before curtain up, as the 1,500strong audience paraded in their finery. Princesses Eugenie and Beatrice wore floral gowns while Alexa Chung was in hotpants and a leather bonnet. Victoria Beckham went for minimal black tailoring. Tom Daley opted for silver sequins.
The show was masterminded by
Vogue editor-in-chief Anna Wintour and Stephen Daldry, Bafta- and Olivier-winning director of The Crown, to celebrate London’s heritage as a cultural powerhouse and to highlight and support the city’s performing arts, with proceeds from the event going to a range of performing arts organisations in the capital, from the National Theatre and Royal Opera House to the Royal Ballet, Southbank Sinfonia and the Rambert dance company.
“The arts are under threat in the UK,” Wintour said before the event, describing Vogue World as “a timely reminder of how important they are, how vital a part of our lives, and how much they need our support.” Held on the eve of the fashion showcase, it framed London fashion week as part of a grand artistic tradition in the city.
A Vogue insider described the event as a way to use “the great Vogue privilege of being able to create a lot of noise” for a cause which is both worthy and close to the heart of Vogue overlord Wintour. It was a showcase for the prestige of London, and for the prestige of Wintour herself. Like the Met Gala in New York, the event was a formidable flex which spoke to the power of Wintour’s contacts book. Who else could secure Sir Ian McKellen as the theatre’s “voice of God” for the night, and orchestrate a surprise finale featuring a quartet of the original supermodels: Cindy Crawford, Linda Evangelista, Naomi Campbell and Christy Turlington?
Over tequila cocktails before the show, gossip revolved around the fashion industry’s current favourite topic: the Kremlinology of who is in and who is out at British Vogue, where Edward Enninful is stepping down from the editor’s chair. With an announcement expected imminently, the programme and seating plan were fine-combed for clues as to who is poised to succeed him.
The audience was a veritable who’s who of fashion and arts. Before the show, Stormzy was to be seen deep in conversation with Andreas Kronthaler, husband of the late Vivienne Westwood. Sarah Burton, who recently announced her imminent departure from Alexander McQueen, caught up with ex-Burberry creative director Christopher Bailey. Alistair Spalding, artistic director of Sadler’s Wells, was in the audience alongside playwright David Hare with his fashion designer wife, Nicole Farhi.
The film director Baz Luhrmann – said to have been brought in at the 11th hour to add a little extra stardust to the production – roamed the lobby resplendent in a pearl necklace, while Stella McCartney led the dancing when Annie Lennox sang Sweet Dreams Are Made of This.
With Wintour rumoured to be moving to London and focusing her legendary energy on British Vogue and the wider British fashion industry, the night seemed to hint at what her strategy might be for revitalising London fashion. An orchestra played on the red carpet, while Wintour and Enninful made small talk in a formal receiving line, shaking hands with all guests on arrival; at the end of the night, bouquets of red roses were presented as a farewell token.
This mood of old-school elegance was a notable departure from the rough-and-ready vibe which has tended to define London fashion week, known for draughty car park venues and stompy models. The night was a love letter to theatre and performance, to supermodels and to glamour – and, perhaps, the start of a new age of elegance in London fashion.