From Jayne Wrightsman to Lauren Santo Domingo, Voguehas always celebrated the brightest lights of philanthropy and society. The new generation, however, is not just ineffably stylish but self-aware, socially conscious—and sometimes even self-made. Meet the young roses.
“Artists have to remain open and independent,” explains Winckler, 31, a New Yorker by way of Paris and her native Belgium. “When artists are tied down to a job, they lose their vision.” It’s a sentiment that led Winckler, whose circle encompasses everyone from actor and artist India Salvor Menuez to Charlotte Casiraghi, to cofound Unemployed, a large-format magazine that she coedits with her partner, Sophie Tabet. Unemployed publishes the work that her artist and fashion-photographer friends are most passionate about but which is—so far, at least—of little commercial value. Think of it as a nonprofit gallery without the gallery, and Winckler a kind of postmodern patron of the arts. “It’s a bridge between art and fashion,” she says. “We create something you could put on your wall.” In most cases, Winckler’s support is what allows the photographers to realize their projects at all. Recently she has taken Pierre-Ange Carlotti to the beaches of Marseilles, Harley Weir to Beirut, and Oliver Hadlee Pearch to Savannah, Georgia. And last fall, François Pragnère shot a photo essay at the Burgundy country house that belongs to Winckler’s family. “We produce everything together—it’s a whole community, an ecosystem,” she says. So much for not having a job. —Mark Guiducci
Sall, a striking 27-year-old Senegalese-American academic—she’s currently a Eugene Lang College lecturer at Manhattan’s New School—has recently lent her face to Kenzo x H&M and J.Crew campaigns. Though her growing exposure in the social and fashion worlds would seem to prove otherwise, her primary focus these days is SUNU Journal, a print and online outlet centered on ideas of African cultural expression.
Ahead of its launch, Sall, a former U.N. intern with a master’s in human-rights studies from Columbia, has already enticed more than 52,000 would-be readers with SUNU’s social-media feed full of references to classic African cinema and rare portraiture from the continent. “I want to create a space where young people—emerging thinkers, voices, artists—can disseminate their work,” she says. —Marjon Carlos