Talley, André Leon

André Leon Talley

André Leon Talley, (born October 16, 1948, Washington, D.C., U.S.—died January 18, 2022, White Plains, New York), influential fashion editor who grew up in the segregated South and rose through the historically white ranks of his industry to become the first Black person to serve as creative director (1988–95) of American Vogue through his savvy and belief in the power of fashion.

Born in Washington, D.C., Talley was raised from infancy by his grandmother Bennie Frances Davis in Durham, North Carolina. She was a cleaning woman at Duke University, who rooted her grandson in the power of faith and the rituals that would help him stay true to it.

Talley traced his understanding of the importance of style to watching his grandmother get ready for church on Sunday. Her hair immaculate and her gloves in place. She was as meticulous in how she kept her house, starching her linens and ironing her towels. She insured that her grandson was as meticulously turned out, down to neatly pressed underwear. Talley noted her attention to such details even though it came after a week of mopping and scrubbing for others.

In his 2003 memoir, A.L.T., Talley described his grandmother:

Bennie Frances Davis may have looked like a typical African-American domestic worker to many who saw her on an ordinary day. But I, who could see her soul, could also see her secret: that even while she wore a hair net and work clothes to scrub toilets and floors, she wore an invisible diadem.

The religion of his boyhood carried over into adulthood, and Talley worshipped at Abyssinian Baptist Church, in Harlem, where Calvin O. Butts III was his pastor. Talley loved how Sunday church fashion became its own form of praise. He loved how the women put on their best dresses with matching hats. He admired the men in their trim suits and polished brogues. But he also relied on faith to shore him up, particularly as he got older and people began to view him as more of an icon than simply a man.

When Talley arrived in New York City in the early 1970s, he was a tall, thin Black man with a bachelor’s degree in French literature from North Carolina Central University and a master’s degree in French studies from Brown University. He barreled through the gilded doors of a world that was populated by European aristocrats, ivory-skinned socialites, privileged liberals, and wealthy elites. When he died at 73, he had achieved unparalleled authority in his profession.

His very presence in a film or television show—Sex and the City, Empire—embodied fashion in all its hierarchical majesty. He wrote multiple memoirs, including The Chiffon Trenches (2020); he curated fashion exhibitions and counseled aspiring designers, such as LaQuan Smith, and veteran ones, such as Oscar de la Renta.

Talley’s professional start, however, was more humble. He began his career at Andy Warhol’s Interview magazine, as well as Women’s Wear Daily. He spent much of his early professional life based in Paris , and by the time he arrived at Vogue in the 1980s, he was friendly with some of the industry’s most influential designers, including Karl Lagerfeld. The designer lavished the young editor with gifts, and Talley impressed Lagerfeld with his knowledge of French history and astute opinions on style. Often Talley, who stood a towering 6 feet, 6 inches (2 meters) tall, knew more about European history and its relationship to fashion than anyone else he encountered. But his knowledge was often met with skepticism. He described himself as “the only Black man among a sea of white titans of style.”

The Gospel According to André

Talley knew that his place in the fashion world came with expectations that included opening doors and making his community proud. Talley was funny, proud, and generous. When inspired by someone’s beauty or accomplishment or character, no one could lavish accolades with as much enthusiasm as Talley. Still, a younger generation of creators sometimes wished he were more overtly an activist.

Talley persevered. By times a majestic and imperious figure in robes and velvet slippers, he pulled others into his orbit—such as mid-career Nigerian designer Patience Torlowei, whom he met during a panel discussion in Lagos, or the young photographer Dario Calmese, who called him a mentor and friend.

Over the years Talley helped fashion evolve. As an editor in 1996, he cast Naomi Campbell as Scarlett O’Hara in a reimagining of Gone with the Wind for a visual story in Vanity Fair. He championed the work of Sean Combs, regularly wearing his clothes, when the rapper launched his fashion brand. In 2009 he wrote Vogue’s first cover story on U.S. first lady Michelle Obama, “Power of Change: Leading Lady.”

As Talley grew older, he became more aware of his place in history. He saw the ways in which he was a bridge within an industry that could be even more glittering, if only it were more inclusive. When Edward Enninful was appointed editor in chief of British Vogue in 2017, becoming the first Black person and the first man to hold that title, Talley was effusive in his delight. Enninful noted on social media after Talley’s death: “Without you, there would be no me.”

Talley knew that he couldn’t open the industry’s doors for everyone. But he believed in fashion’s wonder. And he wanted all to see it.