Few figures have shaped the visual vocabulary of modern fashion quite like Grace Coddington. Beginning her legendary career in 1968 as a fashion editor at British Vogue, she went on to cross the Atlantic, spending nearly three decades at the helm of US Vogue and cementing her status as an industry icon. Now in her 80s, Coddington recently stepped into The Run-Through’s studio for an in-depth conversation with Chloe to discuss her latest publishing venture, a massive yellow tome titled Grace: Now, which compiles her favorite fashion shoots from the past decade.
The creation of the book was a monumental undertaking that drew on decades of institutional knowledge and editorial mastery. As Coddington recalls during her podcast appearance, narrowing down years of prolific work required a meticulous physical process. To curate the final selection of images, she printed out hundreds of photographs, laid them out carefully across physical boards, and constructed a dummy book—mimicking the exact process Vogue’s art department relies on when putting together every monthly issue. “I learned from the best,” Coddington notes with characteristic humility. When Chloe asks her whether her favorite stories tend to change over time, the legendary editor replies with characteristic sagacity: “One always loves the last one one did.”
Opening the pages of Grace: Now, readers are greeted by a poignant handwritten tribute to Coddington’s late friend and longtime collaborator, Michael Roberts. The project marks a major milestone in her career, serving as the first major creative endeavor she has undertaken without Roberts in decades. Their bond spanned generations and disciplines, bridging the gap between editorial vision and narrative text.
“Michael was someone who could complete my sentences,” Coddington tells Chloe, reflecting on their deep personal and professional connection. “I’d known him since the early ’70s, so he knew my life very well. He could write and he was a visual person too. I wanted to do it in my handwriting because I felt that I was talking to him. I adored him.”
The conversation inevitably shifts toward how the broader fashion landscape has transformed over the years, particularly since the 2009 release of R. J. Cutler’s critically acclaimed documentary The September Issue, in which Coddington emerged as the undeniable breakout star, beloved by audiences worldwide for her fiery passion, uncompromising artistic integrity, and whimsical creative direction. Reflecting on the trajectory of the industry since the documentary’s release, Coddington observes how physical scales shifted dramatically. “Fashion shows were getting bigger and bigger and what you saw was grander and grander. Clothes got much bigger,” she notes.
When Chloe points out that everything in the industry seemed to grow exponentially over the years except for the magazines themselves, Coddington offers a sobering perspective on contemporary excess. “I don’t feel it’s about more anymore,” she reflects. “It seems obscene to be excessive, with all the things happening in the world.”
This philosophy has directly influenced the aesthetic direction of her recent work. Observing that the shoots compiled in Grace Now feel markedly different from her earlier, more fantastical creations—leaning closer to reportage than pure escapism—Coddington confirms that this evolution was entirely intentional. Her past collaborations with photographers like Annie Leibovitz, which famously included grand, elaborate fairy-tale narratives such as an iconic Alice in Wonderland story featuring Natalia Vodianova, represented a peak of high-concept fantasy in fashion publishing.
Today, however, Coddington’s artistic compass points in a decidedly different direction. “It’s interesting to see the turn from complete fantasy, like Alice in Wonderland and all those stories I did with Annie. I’m not interested in the [clothes] you can’t actually wear,” she explains. “Maybe we’re not about fantasy anymore, sadly. Life is very real at the moment.”
Yet, this pivot away from elaborate, otherworldly fairy tales does not mean that Coddington has lost her connection to the pulse of contemporary design or her passion for visual storytelling. While she attends fewer runway shows these days, she remains a dedicated observer of the collections, keeping a close eye on the industry’s top talent. Among today’s designers, she holds a particular fondness for Prada, whose work she feels consistently hits the right note every single time.
