![]() ![]() What’s happening in London right this second? What happened here 500 years ago? And how are the two interrelated? The fact that we’re able to explore those questions with the help of the brightest established and emerging artists in the oldest West End theater still in use today is just thrilling. So we’re looking beyond the confines of the theater and across the city, collapsing the walls between venues-and the lines between past and present. Vogue World: London is meant to feel like the opening night of a West End production, and of course, while we’re all gathered in Theatre Royal Drury Lane, there are tens and tens of thousands of other people enjoying live performing arts in London. Our brilliant director, Emily Burns, and producer, Fran Miller, devised the concept. How, exactly, did the theme of London: Here & Now come to be? Dance! Music! Theatre! It’s a box of treats that I hope shocks and delights. That being said, the primary focus of Vogue World: London is what’s happening on the stage rather than on a catwalk or red carpet. Some people would call them fashion, others performance art, and still others theater. And then look at the runway shows of someone like Vivienne Westwood or Alexander McQueen or John Galliano. Take the Met Gala it’s a costume gala, yes, but it’s also one of the great theatrical events of the year in New York. ![]() In many ways, Vogue World: London is really about the extraordinary relationship between fashion and the performing arts that’s always flourished in London but can be felt everywhere. Perhaps the best way to describe it is a wonderful crucible of creative energy, fusing different art forms in a celebratory, witty and irreverent manner. Vogue World: London is a sort of fantasia of British culture that’s unique in form and scope-the only performance it might be comparable to is your Opening Ceremony for the 2012 London Olympics. As the curtain finally goes up on Vogue World: London, the BAFTA- and Olivier-winner gives a behind-the-scenes glimpse at the genesis of the production. “It is full of thrilling surprises.” More than a century later, Stephen Daldry joined forces with Vogue to bring the pages of the magazine to life and curate an evening every bit as astonishing as that inaugural issue. “Nervous people would do well to avoid this issue,” it cautioned. The worlds of fashion and theater have always existed side by side in the pages of *Vogue-*take the very first cover of the British edition in September 1916, fronted by marionette dolls sporting the “autumn fashions” and “winter modes” on a bijou stage.
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