By the turn of the millennium, celebrities had largely replaced models on Vogue covers, which reflected the overall integration of fashion with entertainment. In this episode of In Vogue: The 2000s, we explore how fashion came back (to) Hollywood.
Listen to the seventh episode of the Trending: the 2000s podcast now.
In the golden age of cinema, actresses were dressed by costume designers and their on-screen looks were setting trends; a notable example is the Letty Lynton tomb sleeve dress that Adrian created for Joan Crawford. The romance between fashion and cinema in the 1930s cooled in the years that followed. And soon after, the creative industries were siled. When I grew up there was a distinct line between fashion, cinema, music, high art, like opera, theater, they just didn’t mix, says director Baz Luhrmann. And if you hung out in fashion, you were considered a bit superficial. You couldn’t be, you know, a great filmmaker if you cared about fashion. This line disappeared in the early 2000s.
TO Vogue the walls fell quickly. The cover of the December 2000 issue featured Nicole Kidman as Satine, the character she played in the Oscar-winning film Luhrmann. Red Mill! And celebrity covers have kept (and continue) to come as they reach a large, engaged audience that readers relate to in a different way than they do with models. The celebrities, note editor Mark Holgate, have given you a different tale about fashion. One that was related to a shared experience, like watching a movie or singing a song.
The actors and musicians who had started to infiltrate the front rows of fashion shows in the 1990s, were now followed by the paparazzi not only at premieres but also on coffee tours, and these images found their way into tabloids. These posts, says celebrity stylist Kate Young, were like before Instagram. Suddenly you could see what [celebrities] wore all the time. And people cared. We all cared. It was like the way Instagram is now. You know, it was like a fit.
The growth of media and the onset of the digital age have created a sort of cultural salad. The work of a magazine like Vogue is to contextualize fashion in the real world or in a version of the real world, says publisher Mark Guiducci. And what is Anna [Wintour] saw is that by putting fashion on people other than models, be it Madonna or Gwyneth Paltrow, or First Lady Hillary Clinton, she attracted new audiences and invited people to a conversation at which they had never been invited to before. And in doing so, she brought new clients to the designers.
This celebrity endorsement could be measured in terms of the bottom line, creating a cultural shift, suggests stylist Rachel Zoe. Around that time, there was this huge change in converting to sales, and I think it was probably the big change, the big change, she says. I think it really started to become a fashion business. Stylists have become a new elite in this new model, and in building the public images of celebrities, they have often approached celebrity status themselves. Zoe, for her part, had her own television series, and its success, notes editor Hamish Bowles, was a signal that fashion had undeniably become mainstream. It was no longer limited to fashion industry insiders, it had permeated pop culture.
Trending: the 2000s is presented by Anna Wintour and produced by Vogue. Episode 7, Hollywood: Fashion Steps Into Frame, features interviews, in order of appearance, with Baz Luhrmann, Sienna Miller, Kate Mulleavy, Nicola Formichetti, Kate Young, Rachel Zoe and Laura Mulleavy. VogueThe editorial team is made up of Mark Guiducci, Mark Holgate, Nicole Phelps, Ivan Shaw and Laird Borrelli-Persson. Hosted by Hamish Bowles.
Explore all episodes from both seasons of the Fashionable podcast.](https://www.vogue.com/tag/misc/podcast)
Originally appeared on Vogue
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