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Shifting more albums and filling more stadiums than her contemporaries, Taylor has created a hysteria unseen since the industry’s golden era. In late 2018, The New York Times ran a piece hailing the arrival of “pop 2.0”. Headlined by the likes of Drake, Ed Sheeran and Bad Bunny, the superstars connected to this more fluid approach to cultural dominance are more streaming-focused than their download and CD-flogging forebears, with their success built from the rubble of a once all-powerful monoculture. As audiences have splintered, aided by the sheer scale of the internet, and the inverse size of internet-saturated attention-spans, dominant, all-encompᴀssing megastars like Madonna, Michael Jackson and Britney, aka 1.0, have started to feel like relics from another time. Straddling both camps, however, and almost existing as pop’s sole example of what no one is calling pop 1.5, is  Taylor Swift . (An argument can be made for Beyoncé and Rihanna, although the lat...

TAYLOR SWIFT has been unveiled as the cover star of Edward Enninful’s second issue of British Vogue. SH๏τ by Mert Alas and Marcus Piggott, the pop star wears a Saint Laurent dress by Anthony Vaccarello with hair styled by Paul Hanlon and make-up by Isamaya Ffrench. A 12-page shoot styled by the editor-in-chief follows in the much-anticipated  edition and sets the precedent for #NewVogue’s exciting year ahead. For me, the chance to help transform America’s most fascinating sweetheart was a joy. As we took the pop icon on an epic fashion journey with pH๏τographers Mert Alas and Marcus Piggott, what struck me most about Taylor was her brilliant sense of humour, but also how, for a woman in her twenties, she has an incredible sense of who she is,” Enninful said of the shoot. “Obviously she is a world-class  lyricist – and has written a stunning poem just for Vogue on the timely subject of reinvention and moving on – but she also takes her duties as a role mode...