Inside Vogue’s December Issue (2025)

[upbeat music]

I just wanted to celebrate creativity and freedom

and movement, style, art, just things that I feel we desire.

We don't need them, we want them.

And they are important because we want them.

[upbeat music]

[bright music]

[people chatting]

Hi, everyone.

So the way we usually do this is,

we start with the front and then we move to the well

and then as the big reveal at the end, we look at the cover.

Or in this case, covers.

Oh, okay.

When Anna approached me with the idea in mind

that I would be a guest editor,

my initial reaction to it was,

I don't know how I could do this.

I don't feel confident in my abilities.

So I didn't really believe I was up to it.

But Anna can be very persuasive.

And, I shared the news with Michael Ariano

and Nick Newbold and I said, What do you think?

And, you know, we all kind of came to the same conclusion.

If I didn't say yes, I'd regret it.

[Anna] So are the content pages.

[Marc] Okay, TOC, right?

Yeah, so.

I learned that from Taylor yesterday and Virginia.

Yeah.

We were going through the issue with Anna,

like, spread-by-spread, page-by-page, just reviewing it,

so that we could finally say, yes, this is it.

We've seen it together, we've said goodbye

and, see you soon, kinda thing.

[Marc laughs]

[Anna] Now we go into.

Kaia.

Kaia.

You've seen these pictures.

I've seen those pictures.

That was the first shoot we did for the magazine,

it was a love fest, you know, between Grace, me,

Kaia, Steven, Pat, Guido.

It was just, heaven.

[upbeat music]

I have to drop one of them

and I don't know what one to drop.

I mean, this one, architecturally, it's fantastic.

This is a bit too colorful, maybe.

There's a blue one.

[Assistant] Yeah, we could go back and change it out.

This really gives me Kaia.

Yeah.

[both laugh]

When I heard that Marc was gonna be

guest editing this issue

and when they asked me to do the cover,

yeah, I was so thrilled that he thought of me for it.

Our collaboration has meant so much to me

and done so much for my career,

that, to be able to celebrate it in this way,

is like, such an honor.

Willow, should we just wheel these next door.

Yeah, let's do it.

And then she could try them.

Which one do you wanna start with?

I felt like she would be a great cover

because of who she is because of the history

I have with her and because of the work that she's doing.

[Assistant] Do you want leather or satin?

You wanna try the?

Oh, that one's very good on you.

I think it's absolutely neat.

This is how I feel like my posture, actually.

What, like here?

[everyone laughs]

I was really excited when I got to the fitting

because they had all of the 2024 collection that Marc did,

which was playing so much with proportion,

all these like, big, oversized dresses

and extreme versions of silhouettes.

Your arms, what can we do?

Anything forward.

[everyone laughs]

[Assistant] And down.

Is fine and down.

Yeah, no up and back.

This is.

You can't do this, right.

I think fashion can take itself very seriously sometimes.

And sometimes it should.

But I also think it's so important to have satire.

Marc always did such a good job of like,

taking the work really seriously

but not letting the clothes be too self-serious.

I've never heard so much laughter

in a, you know, pre-shoot fitting.

Because it's like every outfit makes you smile.

It does.

Or it's a challenge.

No, that's what she said.

Yeah.

What a joy to be able to bring those feelings into people

through the clothes that you create.

And it was the same at his fittings.

Like, it was such a breath of fresh air of like,

oh, we can enjoy this.

It was a nice reminder of like, this should be fun.

[upbeat music]

[Assistant] That's the one I like.

[classical music]

And then have you in here.

Anna Weyant, who is one of my very favorite artists,

is painting Kaia in the blue lace dress.

From the beginning I wanted her to do the cover.

And I thought it would be very exciting

to have an Anna Weyant portrait of young woman.

I think she's a great artist.

And I wanted to see her work championed in Vogue.

[upbeat music]

Big hair and a better wig.

The energy in the studio was very, very good.

It just went so well.

And I got to work with Grace and Kaia and Guido and Pat,

which was like the dream team.

[upbeat music]

[knocking]

Well, I decided the hair needs to be fuller.

We're joking.

It's like three wigs that have been sewn together

and I kinda wanted this kind of, ledge.

So, Kaia has a very, sort of, long neck in the picture.

And because of, kind of, the clothing is so exaggerated,

I wanted the hair to be exaggerated too.

Guido is, I usually refer to him as a sculptor

more than a hair stylist.

These would be good on the lips, as well, right?

Gorge.

Major.

And then, Pat, the same way, like, she truly is an artist.

I just have so much trust in both of them.

I go in and I'm like, I am your canvas,

you can do whatever you want

and I am always so blown away at so much of the things

that I've learned about beauty.

And I use the word beauty but it's really like, art.

Is from collaborating with them.

[upbeat music]

This is what I narrowed it down to but.

No but you can't

'cause you've got to do that as well, right.

Well, I can do seven because I can do six plus the cover.

The cover is by, I think,

the greatest fashion photographer we have, Steven Meisel.

He's so fast, he knows exactly what he wants.

And it's just like.

[fingers snapping]

We've done three of six.

I think you're seeing what it is because

Kaia's been created

in this very stylized version of herself.

And she's putting on these clothes,

which are very stylized versions of icons.

She's in front of a colorful backdrop

and Steven is just shooting her in these wonderful positions

and poses, which are very playful

but still done in a very sophisticated way.

There's nothing wacky or zany about the pictures.

They're actually just very beautiful portraits

and fashion pictures.

In the middle of November, right after the election,

whichever way it goes, I'd like to put something out

that's about fashion, about creativity

and about the joy of making things, creating things,

seeing them come to life.

So no matter what happens in the world,

politically or otherwise,

it's essential that creativity continues

and that we make, move and find joy in everything we do.

[Anna] And this? And then I.

[Marc] Okay.

Did you read it?

Well, I think.

Jeremy O'Harris.

Yeah, I know it's Jeremy

but he wrote a piece about wearing a corset.

[Marc] Okay.

Which, is a bit of a stretch,

when you look at it with the nails but we're working on it.

I don't think Vogue really does those beauty features

so much anymore.

But one of the things that I always loved about Vogue,

were these incredible pen images,

which, I did want some of that spirit.

I wanted a kind of, real focus

on two things that I feel are very exciting

in the beauty world.

And one of them is lashes and the other is nails.

With going to Jeremy, what we talked about,

is this idea of desire.

And whether it's a dress that Venus Williams

couldn't sit down in at the Met.

It's like when you have to have something

because it's that desirable to you.

There are lashes that you can't see out of.

There are nails that you can't pick things up with.

And corsets you can't move in.

Corsets you can't breath in.

Dresses you can't sit down in.

Yeah, so we just need to make it.

Heels you can't run in.

A little bit more.

Make that point.

Yeah.

I'm gonna get shimmer for the shoulder.

As I was describing it to Taylor, you know,

I felt, oh, I like this idea of impossible beauty.

And, what I kind of meant by that is,

that I've heard this so many times, like,

the head of production, Danuta, at our office,

would say like, But she can't raise her arm

because the arm hole's too tight.

You can't walk in those heels because they're too high.

You know, You can't use a computer or laptop

because you've got long fingernails.

Like, so I just thought like, why do we do this?

Like, why do we do this to ourselves?

You know, why would they put themselves in danger,

by wearing a dress or a heel or a nail.

And the answer's that 'cause you just love them so much

that it's not form-following function.

[Steven] Wow, beautiful, darling.

That's amazing.

[Spectator] Wow, wow.

Amazing, darling.

Amazing, darling.

Okay, you got to place the nails a little bit.

[Steven] Yeah, we have it.

[upbeat music]

This has to do with desire and wanting something so much,

that you're willing to put up with,

you know, the discomfort.

[Anna] Can you explain the thinking here?

You know, I was absolutely not interested

in doing the house at all.

And then you gave me a little pressure on it

and I thought, okay, well,

it needed to go in a completely different direction.

That wasn't at all about decor but about my

comfort at home.

Gregory Crewdson image,

I think is probably the most personal,

well, it definitely is the most personal to me.

And, Gregory doesn't do things like this.

He's turned down many requests over the years.

But he was

interested and open, so we made a date for him to come

to the house.

[gentle music]

Then he just asked to have some time alone,

in the room that he was interested in photographing.

And then he would write a, kind of, paragraph about how

he saw the image.

And he wrote it as if it were script.

Right pass, it's like a historic monument

to beauty and solitude, I think.

Entering into your home and knowing how much

thought and everything you've done

to make this your home,

I wanted that all reflected in the picture.

In my own way.

Yes, like, I had to make it my own.

The logistics started and it was a team of, I think,

40 or more people.

And there was all kinds of machinery

and lighting equipment and then Arielle came in

and she brought all these different flowers

that she knew I would like.

And then Gregory chose the vase with the flowers

and the robe and the blanket.

The blanket run through was also a thing, you know,

what blanket would Charly have

that would show some suggestion of his body

but not be too big, not too small.

Be the right color, like, just,

there were a lot of those.

Then it came time to shoot.

And that was also, you know, late in the day.

Gregory was like, We only have a 45 minute window

for the light in the house to match the light

outside of the house.

And then there were people running around with fog machines.

And then it's chaotic, you know,

there is like, big machines and there's big lights

and there is generators.

But at the end of it, if it all works,

it's so quiet.

And it's so peaceful.

Focused on Charly.

Focus is on Charly, we're shooting Charly.

End all shooting.

Nice.

And then, like, you never know if you're gonna get it.

I was slightly guessing but when you sat in that chair

and then, got that expression,

I was like, oh, yeah, that's it.

[gentle music]

In my imagination, the care and the nurturing,

you know, all that goes into raising a beautiful kid,

is like the way I feel we've approached this project.

[Gregory] Yes, yes.

We had to take care of it,

we had to be patient wit it, et cetera.

And then we get you to like,

preserve all of those feelings

and all that thinking, in one image.

[Gregory] Yeah, yeah.

[Anna] Okay, so now we go into.

Yay!

Dance portfolio.

Look, Broadway, we love.

We did this great dance portfolio

and tried to capture, you know,

the movement and the emotions

of different styles and types of dance.

I know you prefer this picture.

I totally prefer this picture.

And you don't.

[Anna] No.

[Marc] So do we flip a coin?

[Anna] That's a good solution.

On the list of things we wanted to portray,

was, a very particular type of avant-garde dance.

And there was a model and her facial expressions

were verging on the grotesque but beautifully.

And I don't think that's something that Anna

really has like, the space for.

If you don't like her, which I know you don't,

this was double-page spread, so why not just make it

a double-page spread and not worry about another image.

Or, do you have?

Can you try this quickly as a double-page for me?

It didn't seem likely that we'd ever come to

some agreement over that particular image, so,

I kind of felt like,

rather than replacing it with something I didn't like,

be better just not to have another image on the spread.

She's so sweet, this girl here on the end.

Love the make up.

Really beautiful.

The dance portfolio with Inez and Vinoodh,

yeah, we went through a couple of like,

conversations before we got to what we were doing

and how we were gonna do it.

But, we started off the shoot with the set

within the studio, that looked like a club.

[upbeat music]

The idea was that there would be different

types of dance introduced.

Where then, people would like, kinda back up

and there would be like, on the sides, watching,

these other people compete,

with their different types of dance.

There's nothing quite like it.

It's very hard for me to articulate.

It happened in the studio,

when we were doing that shoot.

Yes, Amara!

Smiling from ear to ear.

[everyone laughs]

I don't know what to do.

[upbeat music]

When you see somebody standing in front of you

and they start to move and you just think,

like, oh, my God.

And it's like, you can feel it,

It's just like this is so moving

and so breathtaking.

[upbeat music]

[everyone cheers]

There he is.

[everyone cheers]

That was beautiful.

You know, this whole issue, being that it's December

and comes out in November, we've had this discussion.

Because, it will come out right after the election.

Dance could either seem like this wonderful free expression

and it could create feelings of like, elation and joy.

Or it could look like, why are they dancing?

That's the last thing.

But, then I thought, like, the idea of the spirit,

is something that we all, in fashion, I think, understand.

And it's like, we love the creativity of it.

We love expressing ourselves through the choices we make.

And that should never change.

Regardless of what happens in the world.

It doesn't mean it's more important than these great

issues in the world but you can't lose sight of how vital

or how important creativity is.

And the joy that it brings people.

[upbeat music]

[upbeat music]

And this is just amazing, I think.

I mean, I think the important thing now,

are the color lines.

Or, if you wanted to try a different color logo.

No, the white's nice.

I like the white.

You were right, like, this is a better.

[Anna] I like it.

[Marc] Yeah, no, I think it's better than.

[Anna] Yeah.

[Marc] The headshot.

[Anna] It is, it's fashion.

I am very excited about this issue.

I never, if you'd asked me, ever, in like,

my whole lifespan,

I never would have thought I would be

a guest editor at Vogue.

I mean, I never would have thought

I'd ever even have a dress in Vogue,

let alone, be the guest editor of Vogue.

[Marc laughs]

[upbeat music]

Inside Vogue’s December Issue (2025)

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