In a sea of content and boring magazine covers, I often think about Franca.
Franca Sozzani, for those who do not know her, led the editorship of Vogue Italia for 28 legendary years until her untimely death in 2016.
But Franca is way more than just the former editor of a glossy magazine. Her career raises an essential question not just in fashion, but in life:
Should we be bold and honest, or is it wiser to play by the rules? How much should we mitigate our opinions to fit in? Was Franca right to take such bold risks, or did she cross the line?
But before I pose any other existential questions, let me tell you more about Franca. Her unorthodox and highly discussed journey left such a undeniable mark on the fashion world that I am sure her story will move something in you as it did to me.
Who was Franca?
Franca Sozzani was born on January 20, 1950, in Mantua, Italy. In the very emotional documentary Franca: Chaos and Creation, released in 2016 after her death, by her own son, Franca is described as a thoughtful, sometimes stubborn, sometimes droll woman. A woman who broke with Italian conventions by annulling her first marriage after three months and running off to see the world—first to India, and then to London in the late 1960s when it felt like the center of the universe. Later, she would travel around the U.S., with an itch to get out into the world that served as a catalyst for her magazine career. Her Italian heritage played a significant role in shaping her vision, infusing her work with a unique blend of elegance.
She was an incredibly driven woman who understood pretty soon after the birth of her child, Francesco, that “this wasn’t the life I wanted. I couldn’t just stay home and make spaghetti.” A quote that surely breaks many Italian hearts that also raised questions. For a mother to prioritise her career over family in 1970s Italy was an anomaly that didn’t come without judgment.
She wasn’t the nostalgic type but more practical and truth-oriented. Her editorial instinct reflected that. “It’s not that I don’t think of the past, but it’s a waste of time,” she says in the documentary. “If you’re stuck in the past, beholden to it, then your creativity is stuck there, too, because you don’t give yourself a chance to evolve.”
For Sozzani, the creativity of the photographers was really important, and thanks to this, she gave space to the creation of some of the most memorable editorials. Franca supported names like Steven Meisel, Peter Lindbergh, Paolo Roversi, and Bruce Weber—both creatively and personally—from the very start.
Franca’s influence went way beyond fashion. She was involved in several charitable activities, and she used Vogue to tell real-life stories and sell dreams and at times to represent nightmares. Her takes were often controversial but never boring, scandalous and rebellious and some even outrageous - surely unforgettable.
Franca’s Wardrobe
Franca's style is impossible to ignore so I feel like I must cover it. Her style was effortlessly elegant, often eclectic yet quiet. She loved a tailored suit, flowing dresses, and muted colour palettes with occasional bold prints. Franca embraced the Milanese style at its finest, adding her personal accents. Her wardrobe is currently displayed in Galleria Sozzani in Milan—a gallery founded in 2016 by her sister Carla, which still today aims to promote cultural and artistic activity of any kind. The foundation's role in the fashion landscape is to create awareness and help the growth of the next generation of creatives. If you’re ever in Milan, I highly recommend a visit, perhaps followed by an aperitivo at 10 Corso Como Café. Prego!
Franca at Vogue
Sozzani began her career in the fashion industry with the magazine Lei in 1976, before moving to Vogue Bambini and eventually becoming the editor-in-chief of Vogue Italia in 1988. Yes, 1988—the same year Anna Wintour became editor of Vogue America. Her years at Vogue Italia were marked by pushing boundaries and taking risks, both in terms of fashion and social issues. She addressed topics like racism, domestic violence, and environmental issues through powerful and very provocative imagery.
Her modus operandi often brought her some trouble at Vogue, especially with Anna. The main difference between her direction of the magazine and Anna’s, is that one is insistently commercial and the other ceaselessly creative. And fashion legends say this took some years to be accepted by Wintour. It is said that Franca risked to be fired multiple times at Vogue because of the turmoil some of her choices created, one example is the editorial about domestic violence that shocked the world. Shot by photographer Steven Meisel, the editorial depicted models in scenes that resembled abusive relationships, with bruises, blood, and disturbing imagery. Critics, women's rights groups, and the general public reactions were largely negative, with many accusing Vogue Italia of being tone-deaf and insensitive to the reality of domestic violence. Critics felt that the fashion magazine was exploiting the topic for shock value, ignoring the real trauma and pain experienced by victims of abuse. Franca Sozzani argued that fashion has the power to reflect and address societal issues, even if the imagery is uncomfortable. Despite the controversy, there were no significant long-term professional consequences for Sozzani.
It is said that Anna and Franca later became friends (allegedly), but it is said that no matter the disagreements, they always deeply respected each other's vision. Who knows, really…
I wonder how hard it would be to click with someone like Anna. Just the fact that you’d never see her eyes gives me the idea of a very impenetrable person. I have to admit that after reading the amazing book Anna by Amy Odell, I gained a better understanding of the more human side of Wintour. I highly recommend the book, by the way.
In those years, Franca said that what all Vogue wanted was girls laughing and jumping, but what she gave them was war, violence, oil and water pollution, and some blood here and there. For Franca, the more fantastical a fashion story is, the better. She wanted to shock, to inspire dreams, and to fuel creativity. But covering social issues and wanting to depict reality the risks are high. She often was accused of doing it in the wrong way and I wonder if it is possible at all to depict something like domestic violence in a fashion editorial without being accused of glamourising it? For the same reason, many thought she crossed the line, supporting the idea that fashion should just do fashion. On the other hand, others described her as an icon and believed that fashion is just the reflection of our times so yes, it should be political, controversial and extreme. Either way, as controversial as it was—and still is today—Sozzani's legacy continues to inspire many in the fashion industry.
So, what is fashion for you? I bet Franca knew exactly what to reply to this question.
The Highlights
A collection of some of my favorite and worth-a-mention covers and editorials under Sozzani’s editorship. I wonder if any of these would ever be approved and published at all today?
August 1988
Franca’s very first Vogue cover. One of my favourites for sure, I adore the palette and the simplicity—very uncommon for the late ’80s.
May 1993
I would kill to own one of these. We can see a very young Linda Evangelista having the time of her life. Please note how cheap Vogue was back then—7,500 Italian lira, equivalent to 3.80 euros, 4.22 dollars today.
January 2000
Franca's fascination with the future brought us this magnificent cover that gives 60s vibes with a 2000’s pink.
July 2005
The infamous Makover Madness cover shot by Steven Meisel that costed Franca a lot of backlash. I am also including some of the most shocking pictures that feature young women recovering from what seemed to be very invasive plastic surgeries. Starring Linda Evangelista, great friend of Franca, this photoshoot “was meant to bring attention to the way Botox is abused and how everything has become ridiculous, making people look ridiculous.” The most frequent question Franca was asked was if there was any issue she wouldn't tackle in the magazine. Her reply: “Not for me. I think that anything could be in the magazine,” which gives you a pretty clear representation of how much she valued expressing her truth.
August 2010
Another very controversial subject with a very controversial editorial. Damn, this woman feared nothing! Franca decided to pick up on something that was in the news—the disastrous BP oil spill in 2010. “Distancing ourselves from the clothes and making it more about life,” she declared. These pictures were very debated and wildly disliked. They were considered incredibly insensitive to the environmental disaster and critics labeled them as tasteless, exploiting a tragic event for shock value, again. Ouch.
You can now contribute to The Inside Pocket's growth without strings attached! If you can’t commit to a monthly or annual subscription but would still like to support, you can offer me a symbolic coffee below.
The Legacy
If there’s something I admire, it’s honesty, and Franca always reminded me of that. I love unbiased real journalism and truth and I think we deserve a good injection of that even in a world known for selling dreams, such as fashion. That said, some of Franca’s choices were extreme and in my opinion, slightly out of touch. Having such a strong voice with Vogue comes with great responsibilities.
Franca decided to be the voice outside the choir no matter what and that will be forever admirable. She did not fear controversy but she overdid it at times not taking into account how many people she would impact. And this led me to the question: is this what we are supposed to do to be really authentic and stand out in this ocean of creators and never-ending content? Whatever your take is on her choices, do you also believe in bold voices that speak up, even at the risk of losing their jobs?
And what about Franca Sozzani? Do you think Franca’s was just luck mixed with tone-deaf decisions? Or do you admire her for her courage in pursuing her truth? Perhaps the real question is whether we should all aspire to be a bit more like Franca—fearless, innovative, and willing to be remembered for challenging the status quo, even at the risk of being disliked?
On thing is certain though, this was fashion journalism. And this was Vogue during Franca’s time. And at times, I miss it dearly.
Let me know what you think in the comments, I would love to read your take.
Thank you for reading, I love you!
Giulia xx
Honestly, love her for that. People constantly talk about doing something for "shock value", but why is a shocking thing always considered a bad one? Especially when Franca would put real thoughts behind her work, not some empty type of shock. Yet she always got accused of doing things for shock value.
Wow thank you for this thorough observation of Vogue during Franca’s years! I actually love that she was a documentarist for Vogue. You don’t get to all the happy jumping images without a real look at what’s happening in the world. Also I think she pushed an artist like Steven Meisel to the best of his ability, which is so important in the role of editor at Vogue.