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• Vogue 100 A Complete History...

A Complete History of British Vogue Editors-in-Chief

From Elspeth Champcommunal to Edward Enninful, Culture Trip takes a look back at the individuals who have shaped British Vogue throughout the ages. Vogue started life as a small New York society magazine. It was born in 1892, the brainchild of Arthur Baldwin Turnure who founded it as a weekly newspaper, focusing around the ceremonial side of life. It was a publication that attracted ‘the sage as well as debutante, men of affairs as well as the belle.’ From its inception, the magazine targeted the New York aristocracy, and the publication was primarily concerned with style, sports coverage and social affairs for the male readership. The small, weekly society magazine that went by the name of Vogue was staffed by the same New York high society that they were writing for. In 1905, Condé Montrose Nast began pursuing the acquisition of the magazine, and following delays due to Turnure’s sudden death from pneumonia in 1906, Nast acquired the magazine in 1909. His focus shifted to a female, fashion-oriented audience. In 1916, during the First World War, German U-boats imposed restrictions on overseas shipping, meaning that Vogue could no longer be sent from America to Europe. In addition to the paper shortages, it was deemed a ‘non-essential.’ The answer to this problem was the conception of British Vogue . Nicknamed ‘ Brogue ‘ by its employees, British Vogue was largely a reproduction of the US edition. However, this changed with the appointment of the first British-based Editor-in-chief in 1916.

Elspeth champcommunal, editor-in-chief 1916-1922.

Elspeth Champcommunal was a well-connected woman who rubbed shoulders with the infamous Bloomsbury Set : a group of forward-thinking British intellectuals, who had modern attitudes towards feminism, pacifism and sexuality. Her close friends included with photographer Man Ray, writer Virginia Woolf and artist Roger Fry. Her views no doubt reflected those of her peers, and Champcommunal thought it was important that Vogue be more than just a fashion magazine; she also included articles on health, beauty, society, sport, travel and opinion pieces. Her editing style pushed boundaries, but the post-Victorian Vogue readers were perhaps a little more reserved, and as a result, circulation of British Vogue dropped below 9,000 in 1922. Champcommunal was exceptionally fashionable – she later became a fashion designer and owned a boutique in the 18th arrondissement in Paris – but she had little experience in publishing. Nast decided to intervene, and replaced her with the woman who he had originally lined up for the job.

Dorothy Todd, Editor-in-Chief 1922- 1926

Alison Settle, Editor-in-Chief 1926-1934

Todd’s replacement was a prolific journalist, a design and taste adviser to British government bodies, a champion of women’s rights, and credited with British Vogue’s readership picking up again. Her name was Alison Settle. Born in Brighton in 1891, Settle had attended secretarial college, before taking a journalism course, and soon started writing for various magazine such as the Sunday Herald, Sunday Pictorial, Eve and the Daily Mirror. After Settle took the helm of British Vogue in 1926, the magazine grew in popularity, laying the foundations for the success of the publication. She shaped the magazine as a sophisticated product of culture, with exceptional writing at the core of the magazine. She also supported articles with brilliant graphic design, illustrations, photography and models. Contributors under her name included Edith Sitwell, Vita Sackville West, George Lepape, Eduard Benito, Edward Steichen and Lee Miller. She grew the readership beyond the cultured ladies of the aristocracy (a category to which she herself belonged) to the working women of the middle classes and first-wave feminists. Subjects such as politics, art and cooking were covered in British Vogue for the first time. Young women were increasingly able to buy cheap clothes, and Vogue began to translate haute couture into accessible advice on clothes that women could actually wear. Although she left British Vogue in 1935 under strained circumstances (she was dismissed), Settle went on to become Fashion Editor at The Observer shortly after, and stayed there until her retirement in 1960. Her archive comprises of papers offering insights into fashion, textiles and clothing manufacturing, as well as domesticity, women in the workplace and design promotion. Her archive can be viewed at the University of Brighton Design Archives . At this point in the publication’s history, the relationship between Condé Nast and British Vogue was similar to that of a parent and an adolescent child. The Americans did not believe that the British Vogue staff could be trusted to do anything important without supervision, and in 1934, British Vogue was struggling again. Lord Camrose, the British press baron, bailed Mr Condé Nast out to become Vogue’s biggest shareholder, while New York retained editorial control. Betty Penrose was sent from the US to helm British Vogue . She was already working at American Vogue , and was Nast’s protégé and likely mistress. She was tasked with infusing American rigour into the British publication, and to reduce its ‘excessively sprightly nature.’ In 1939, Penrose announced that she would be going back to America for a few months in order to renew contacts in New York. She left Assistant Editor Audrey Withers in charge. When Penrose could not return to the UK due to the start of WWII, Audrey Withers was formally made the Editor-in-Chief.

Audrey Withers, Editor-in-Chief 1940-1960

In the second year of WWII, Audrey Withers took the helm of British Vogue . During the war, paper was rationed more strictly than sugar, and the magazine had to pulp its own archive to survive. It went from a fortnightly to a monthly publication, and new subscribers were put on a waiting list – someone had to die for you to get it. A few years before she became Editor-in-Chief, Withers had answered a magazine advert for a sub-editor job on British Vogue , for the princely sum of £3 per week. Penrose’s enforced exile left Withers permanently in charge. Withers went on the steer the magazine through the difficult war years, playing a vital role in maintaining morale on the home front. With men away, and women bearing much of the responsibility of domestic and family life, magazines – read by almost every woman in the country – were a vital source for information and advice. In times of ration, beauty tips were understandably low-budget. Such advice included animal dripping as a cure for dry or spotty skin. Women working in factories were refusing to wear unattractive caps to protect them from catching their hair in the machinery, and Withers was asked to persuade her readers that short hair was chic, which, of course, she did. During this time, there was an emphasis on women keeping themselves well turned-out in order to boost the morale of the British soldier on leave. ‘When he came back, you had to be something special for him. That’s what you lived for,’ said Withers.

Lee Miller was appointed contributing photographer, and her war front photojournalist skills were second to none. Magazines, unlike books, were, and still are, about the here-and-now, and Miller’s photographs took Vogue readers into the heart of the conflict. As an editor, Withers was no-nonsense. She would snap at the sight of a wrongly placed comma. She ate sandwiches at her desk, rather than lunching at grand restaurants. She preferred taking public transport rather than taxis. ‘I am very well aware that I would not have been an appropriate editor of Vogue at any other period of its history,’ Withers recalled. Having had no fashion training, Withers’ copywriting and administration skills coupled with her strict disciplinarian attitude and headmistress-like manner perfectly suited the austerity of the times. When the air-raid sirens sounded, Withers would lead her staff of five – two art editors unfit for active service, a sub editor, a fashion editor and a staff writer – down five flights of stairs at their 1 New Bond Street office to the basement, where they would continue working. Eventually, they stopped bothering to go downstairs, and remained seated at their desks while London was bombed around them. Withers remained the editor of British Vogue for 20 years, until her retirement in 1960. Throughout her tenure she was one of the most influential women in the country. Devoted, passionate, avowedly left-wing yet unashamedly high-brow, she is widely credited with transforming the magazine into the one we hold in our hands today.

Alisa Garland, Editor-in-Chief 1960-1964

Loosely defined as ‘the cultural decade,’ and colloquially referred to as the ‘Swinging Sixties,’ the turn of the decade brought it sweeping changes around the world. The new decade brought with it the concepts of sexual liberation and the emancipation of women, as well as Civil Rights protests, the Pill and massive advances in space exploration. This shift in zeitgeist, as always, was reflected in fashion, and in the pages of British Vogue . Whereas fashion had previously been aimed at a wealthy, mature elite, the tastes and preferences of young people had now become important. Whereas the market of the 1950s had been dominated by Parisian haute couture; women’s fashion in the 1960s underwent structural change, resulting in looser lines, brighter colours, cheaper production and shorter hems. Mary Quant herself said, ‘Snobbery has gone out of fashion, and in our shops you will find duchesses jostling with typists to buy the same dresses.’ Clothes were heavily influenced by the 1960s British pop scene, and the new ideas that were emerging from music culture. It was the mod look that first popularised the geometric shapes typical of the 1960s. Around this time, a group of young artists, film directors and socialites gravitated towards the King’s Road, where Mary Quant, credited with the invention of the mini skirt, had her avant-garde boutique, Bazaar. Locals were known The Chelsea Set, and the area became synonymous with a new way of living and dressing. Vogue needed someone to fill the shoes of Withers, and the woman for the job was affluent fashion writer Alisa Garland. She has been listed as one of the most influential British fashion writers of the decade. The Spectator reported that Garland had been headhunted from her job as Fashion Editor of the Daily Mirror in order to join British Vogue as part of a greater plan to change the magazine’s focus away from luxury and exclusivity. Alisa Garland left Vogue in 1964 for greener pastures: she became Editor-in-Chief of Woman’s Journal , which at the time the largest women’s magazine in the UK.

Beatrix Miller, Editor-in-Chief 1964-1984

Born to a doctor and a nurse who met on the Western Front, Beatrix Miller started her career working for MI6 in Germany on the Nuremberg Trials. Sworn to secrecy, she rarely spoke about those years of her life. Her journalistic career began at The Queen , a British society magazine. When Miller was appointed as Editor-in-Chief of British Vogue , the first issue she published was the largest in the magazine’s history so far, at 470 pages. She was made of stern stuff. She often rallied her staff like troops, and when she thought the publication was stagnating, it would be all change as she shuffled employees into different jobs. Bea, (as she was known) was credited with starting the careers of ground-breaking photographers such as David Bailey , Terry Donovan, Brian Duffy and Lord Antony Snowdon, husband of Princess Margaret. Vogue became the go-to place for royal portraits, and cover stars included Princess Anne, Princess Grace of Monaco and Princess Diana. Miller’s witty quips and modern headlines laid the groundwork for progressive thinking and longevity. She made every sub-heading sparkle and every cover quote eye-catching. She started Vogue ’s renowned ‘More Dash Than Cash’ section, and put quotes from avant-garde bands such as Queen. ‘I AM AN EXPORT’ shouted a 1970s cover, while others had provoking headlines covering such topics such as birth control, masculinity and change. Miller made sure that London’s Swinging Sixties scene unfolded with adventure, intelligence and curiosity between British Vogue ‘s pages. She retired after 20 years, in 1984. She was awarded a CBE, joined the council of the Royal College of Art, and became an adviser who served as a link between the government and the fashion industry. She died in 2014.

Anna Wintour, Editor-in-Chief 1985-1987

Arguably the most famous and revered fashion editor of all time, Anna Wintour was born in London in 1949. Her father, Charles Neville, was editor of the Evening Standard, and arranged a job for her at Biba on the King’s Road when she was fifteen years old. She took classes in fashion at a nearby school, and landed her first experience on a magazine through much older boyfriend Richard Neville, at his controversial magazine, Oz .

In 1970, Harpers Bazaar UK launched, and Wintour was hired as a junior fashion editor. She then moved to Viva , an adult woman’s magazine, a job which she rarely talks about. Here she hired her first assistant, and her reputation as a difficult and demanding boss began. The Devil Wears Prada is the best-selling roman-à-clef written by former assistant Lauren Weisberger. In 1980, Wintour began working at Savvy , and later New York Magazine , before becoming Creative Director of American Vogue .

In 1985, Wintour became Editor-in-Chief of British Vogue , where she implemented wide-ranging changes. ‘There’s a new kind of woman out there. She’s interested in business and money. She doesn’t have time to shop anymore. She wants to know what and why and where and how,’ she told The Evening Standard.

She has been described as emotionally distant, intimidating, ruthless and volatile by those who know her. Sobriquets include ‘Wintour of Discontent’ and ‘Nuclear Wintour,’ the latter being so disliked by her that she has banned The New York Times from publishing the moniker. She reportedly told Oprah to lose weight before she appeared on the cover of American Vogue ; likewise, she banned Hilary Clinton from wearing a blue suit.

Wintour’s time at British Vogue was brief: she moved to New York in 1987 to take over House & Garden , and a mere 10 months later succeeded Grace Mirabella as Editor-in-Chief at American Vogue . Many speculate that this was a tactical geographical move on Wintour’s part. She remains Editor-in-Chief at American Vogue to this day.

Liz Tilberis, Editor-in-Chief 1988-1992

Born Elizabeth Kelly, Tilberis studied at an all-girls school, before being expelled from her fashion degree at Leicester Polytechnic for having a man in her room. Picking herself back up, she applied to the Jacob Kramer Art College in Leeds. Yet the tutor who interviewed her was unimpressed with her portfolio. Demonstrating a gift for persuasive talking, Liz gave him about speech about why she was, in fact, a good enough candidate, and won a place there. Her tutor would later become her husband. In 1967, Tilberis entered a British Vogue essay-writing competition, and won an internship earning £25 a week. She made tea, picked up dropped pins from dresses and ironed clothes for fashion shoots. Ever shrewd Beatrix Miller noticed her good nature and enthusiasm, and she was promoted to Fashion Assistant in 1970. In 1987, after two decades at British Vogue , she was offered a lucrative job in New York City as part of Ralph Lauren’s design team. She had sold her London home, and packed up her belongings, when then Editor-in-Chief Anna Wintour called her into her office, and offered her the job as Editor-in-Chief. She accepted, and British Vogue ’s circulation began to rise under her editorship. Liz recalls, ‘My staff are respectful of me, rather than frightened.’ In an industry known more for bitchiness than beneficence, she was famous for radiating warmth and making everyone feel loved, even being described as the ‘snap, crackle, and pop’ of the fashion world. In 1992, Tilberis was lured across the Atlantic to become editor of the American edition of House & Garden . The following year, she was diagnosed with ovarian cancer, and became the president of the Ovarian Cancer Research Fund. She blamed the IVF treatments she had gone through in the 1980s, before she had elected to adopt. She published a memoir, No Time To Die in 1998, and was holding meetings in her hospital bed until her death in 1999. Fashion was not simply a career for Tilberis; it was her life.

Alexandra Shulman, Editor-in-Chief 1992-2017

Born into a family of journalists in the wealthy London neighbourhood of Belgravia, Shulman was adamant she wouldn’t follow her parents’ career path. With early ambitions to become a hairdresser, she studied anthropology at the University of Sussex, and was left ‘in tears’ upon graduating with a 2:2 (a lower-tier Second Class Honours). After a brief foray into the music industry, in 1982, she began her fashion journalism career and joined the Condé Nast-owned Tatler magazine, and subsequently The Sunday Telegraph , American Vogue and GQ , where she became Editor-in-Chief in 1990. Upon her appointment as Editor-in-Chief of British Vogue , the press were less than kind. They deemed her inexperienced compared to her predecessors, and many remarked on her appearance (she was not a size zero, and didn’t have a ‘fashion’ haircut), comments that are still made to this day. In 2004, she told The Telegraph , ‘Leaving aside the obvious but unlikely criteria of beautiful and thin … I am a 47-year-old businesswoman and journalist. The pictures unfortunately, tell the whole story.’ In the early 1990s, Shulman found herself in the firing line as the magazine drew criticism for photos of a waif-like Kate Moss, that were dubbed ‘heroin chic,’ a look that was popularised by the success of young, emaciated models such as Moss and Jaime King (and their alleged drug use). Characterised by extreme thinness, dark circles, and an unkept look, the criticism of Vogue was part of a larger discussion about whether fashion magazines presented an unhealthy body image that contributed to a rising instances of anorexia in young women. The trend was worlds away from the vibrant, healthy look of supermodels in the decade before, such as Cindy Crawford, Naomi Campbell and Giselle Bündchen. Shulman denied that there was any correlation between Vogue and eating disorders, and told TV show Frontline in 1998, ‘Not many people have actually said to me that they have looked at my magazine and decided to become anorexic.’ In 2005, she demonstrated a more sensitive approach, and told The Scotsman , ‘I really wish that models were a bit bigger. There is pressure on them to stay thin, and I’m always talking to the designers about it, but they’re not going to do it.’

Then, in June 2009, Shulman wrote an open letter to major international fashion houses including Chanel, Dior, Prada and Versace, complaining that their ‘minuscule’ sample sizes were forcing fashion magazines to use models with ‘jutting bones’ and ‘no breasts or hips’. Shulman doesn’t think it made much difference, but she is resigned to the fact that she has to continue to talk about it. She refuses to publish diet tips or cosmetic surgery advice in the magazine.

Since her editorship, British Vogue’s circulation has risen to over a million readers. She is credited with fostering the careers of Mario Testino , and Tim Walker , and has been named on countless lists of influencers and power-holders. She was awarded an OBE in 2005 for services to the magazine industry. Shulman is, to date, the longest-standing editor of British Vogue, and her successor will have a sizeable legacy to uphold. Read our interview with Alexandra Shulman here.

Edward Enninful, Editor-in-Chief 2017 – present

Scouted as a model during his teenage years in London’s Ladbroke Grove, Edward Enninful became the fashion director of i-D aged only 19. This was to be the start of many firsts for Enninful, who has now been announced as editor-in-chief of British Vogue. As the only male to lead this prestigious fashion title, Enninful assumes the mantle at a challenging time for the publication, and the media industry at large.

https://www.instagram.com/p/BQeVDIcAVk9/?taken-by=edward_enninful&hl=en

Ghanian born Enninful, who was awarded an OBE for his services to fashion in 2016, has long been a champion of diversity and innovation. He was responsible for Vogue Italia’s “Black Issue” in 2005 (which sold so well Condé Nast ran an extra 40,000 copies) and most recently during his time as creative and fashion director at W magazine has helped to increase ad sales and brand awareness. The combination of marketing know-how, coupled with an innovative approach to visuals means that Enninful is well placed to take British Vogue into the new age.

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Increasingly we believe the world needs more meaningful, real-life connections between curious travellers keen to explore the world in a more responsible way. That is why we have intensively curated a collection of premium small-group trips as an invitation to meet and connect with new, like-minded people for once-in-a-lifetime experiences in three categories: Culture Trips, Rail Trips and Private Trips. Our Trips are suitable for both solo travelers, couples and friends who want to explore the world together.

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British Vogue editor-in-chief Edward Enninful says March issue will be his last

Enninful makes announcement almost two months after saying he would step down from role he has held since 2017

• How Edward Enninful’s Vogue changed British culture

Almost two months after announcing that he would step down from his role as editor-in-chief of British Vogue next year, Edward Enninful has confirmed that the March 2024 issue, which will come out in February, will be his last.

Enninful made the announcement on Instagram , saying: “With just seven issues left at @BritishVogue, I would love to know which issue was your favourite. March 2024 is my last @BritishVogue as EIC so set your clocks. With my final issues I’m in planning mode for sure with lots on my mind. The power of brilliant global change makers! The unbeatable creativity of the UK! And above all FASHION! More than anything, I am just so excited for what is still to come in the next seven months.”

Enninful may be leaving his current position, but he will stay on at Condé Nast, where he has worked in one guise or another for 25 years, to become Vogue’s global creative and cultural adviser and editorial adviser at British Vogue .

When he first announced he would be leaving, he reportedly told staff that his new position meant he would “continue to contribute to the creative and cultural success of the Vogue brand globally while having the freedom to take on broader creative projects”. A successor has not yet been named.

Enninful has been at the helm of British Vogue since 2017, when he took over from Alexandra Shulman and brought in supermodels Kate Moss and Naomi Campbell and film director Steve McQueen as contributing editors . His appointment made him the first man, and the first black editor, to hold the title. In December 2020 he was promoted to European editorial director of Vogue. He is a former model and was a contributing editor at US, Japanese and Italian Vogue, and creative and fashion director at W magazine .

During his time, he has worked with the Duchess of Sussex on a guest-edited issue of the magazine , secured a rare interview with Beyoncé and featured Rihanna, A$AP Rocky and their baby son on the cover – probably the first time a nappy has ever had such a prime spot. His cover stars have included big names in pop culture, such as Zendaya, Ariana Grande, Taylor Swift and Dua Lipa, as well as supermodels Linda Evangelista, Naomi Campbell, Kate Moss and Iman.

Enninful has made representation a key tenet of his time at British Vogue by giving the cover to activists ranging from Marcus Rashford to Prof Angela Davis and Reni Eddo Lodge. In May of this year he put what was described as “a new vanguard of disabled talent” , including the CEO of the accessibility consultancy Tilting the Lens, Sinéad Burke, on the cover of an issue for which Vogue published its first ever braille edition. For the June 2020 issue, Enninful put Judi Dench on the cover , making her Vogue’s oldest cover star at 85 years old.

He was awarded an OBE for services to diversity in fashion in 2016 and has previously said that diversity should be a “continuous conversation” and “shouldn’t even be an issue as far as I’m concerned. Beauty’s beauty.”

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His promotion puts him in prime place to replace Anna Wintour when she vacates her position as the editor of American Vogue, a spot she has held since 1988.

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Edward Enninful: 'I was told diversity equals downmarket at Condé Nast. My Vogue proved them wrong'

Edward Enninful OBE , just two months out of the top job at British Vogue , is already candidly reminiscing on his tenure as the magazine’s final editor-in-chief. “Someone at Condé Nast told me diversity equals downmarket,” he told industry insiders (and his coterie of models and marchionesses, counting Naomi Campbell, Jourdan Dunn and Emma Thynn) during a British Society of Magazine Editors’ lunch at Rosewood London on Friday. “My Vogue proved them wrong.” 

Relaxed, and having swapped his suit blazer for a black Barbour wax jacket, the editor said he was proud to have swerved newsstand appeal in favour of his principles. “It's my duty as an editor to sometimes challenge the notion of sales,” he said. “When I put a model on the cover, it's not going to have the same attraction as Billie Eilish but it needs to be done to support the fashion industry. When you put Malala on the cover, you know she will not sell as well as Rihanna, but it's our duty to show women who are out there fighting.”

Enninful’s first cover of Adwoa Aboah, for December 2018, and his 75 issues that followed have gone down as a turning point in representation in the industry. “Vogue is the best magazine in the world and I wanted to create one where everybody can see themselves: whether you're gay, whether you come from Brixton or Tottenham, whether parents are not the richest,” he said. “I grew up in Notting Hill with Rastafarians and aristocrats –  that's something I've always had as part of my DNA and I’ve been able to show a world where everybody is kind of equal.”

Chioma Nnadi has taken his place in a newly titled role, Head of Editorial content, while Enninful has stepped into a new global position at Condé Nast. “A few people have approached me for jobs, but I need a break,” he said. Just don’t call him idle. “I really don’t like laziness,” he said, saying he still wakes up at 5am. Well, you can take the man out of Vogue House. 

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Billie Eilish Announces 'Hit Me Hard and Soft' World Tour Dates

The tour will kick off September 2024 and run through July 2025

Kevin Winter/Getty Images

Billie Eilish is going "hard" with touring.

On Monday, April 29, the pop star, 22, revealed that she'll be hitting the road in support of her forthcoming album Hit Me Hard and Soft .

The arena dates, produced by Live Nation, will kick off in North America in September 2024, before continuing in Australia in February 2025. Then, she'll travel to Europe, the U.K., and Ireland starting in April until late July 2025, per a press release.

Michael Hickey/Getty Images

Eilish will kick off her North American leg in Québec, Canada at Centre Videotron on Sunday, Sept. 29, making stops in Philadelphia at the Wells Fargo Center on Saturday, Oct. 5 and in New York City at Madison Square Garden from Wednesday Oct. 16 to Friday Oct. 18, before wrapping a three-date stint in Inglewood, Calif. at the Kia Forum on Tuesday, Dec. 17.

The "Ocean Eyes" artist will then launch her Australian dates with four dates in Brisbane at Brisbane Entertainment Centre from Tuesday, Feb. 18 to Saturday, Feb.22, which she'll close out with a four-day stint in Melbourne at Rod Laver Arena from Tuesday, March 4 to Saturday, March 8.

Eilish's European dates will kick off in Stockholm with a two-date performance at Avicii Arena on Wednesday, April 23 and Thursday, April 24, before wrapping in Barcelona after a two-date stint at Palau Sant Jordi on Sunday, June 15.

On Monday, July 7, the nine-time Grammy winner will kick off her U.K. leg in Glasgow, Scotland at OVO Hydro, where she will play two dates. She'll conclude that part of the tour with two dates in Dublin at 3Arena on Saturday, July 26 and Sunday, July 27. Tickets for Eilish's tour dates will be available via an American Express® presale on Tuesday, April 30, with additional presales running throughout the week. Presale start and end times will vary by location.

The remaining tickets will be available to the public via general onsale Friday, May 3 on  billieeilish.com . On-sale start times vary by market.

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Matt Winkelmeyer/Variety via Getty Images

Earlier this month, Eilish announced that her third album,  Hit Me Hard and Soft . will be released May 17.

Instead of a typical rollout with singles as she did for her previous two records, 2019's  When We All Fall Asleep, Where Do We Go?  and 2021's  Happier Than Ever , the "Bad Guy" performer will share the 10-track project all at once.

See the full list of tour dates below.

Sun Sep 29 – Québec, QC – Centre Videotron Tue Oct 01 – Toronto, ON – Scotiabank Arena Wed Oct 02 – Toronto, ON – Scotiabank Arena Fri Oct 04 – Baltimore, MD – CFG Bank Arena Sat Oct 05 – Philadelphia, PA – Wells Fargo Center Mon Oct 07 – Detroit, MI – Little Caesars Arena Wed Oct 09 – Newark, NJ – Prudential Center Fri Oct 11 – Boston, MA – TD Garden Sun Oct 13 – Pittsburgh, PA – PPG Paints Arena Wed Oct 16 – New York, NY – Madison Square Garden Thu Oct 17 – New York, NY – Madison Square Garden Fri Oct 18 – New York, NY – Madison Square Garden Sat Nov 02 – Atlanta, GA – State Farm Arena Sun Nov 03 – Atlanta, GA – State Farm Arena Wed Nov 06 – Nashville, TN – Bridgestone Arena Fri Nov 08 – Cincinnati, OH – Heritage Bank Center Sun Nov 10 – Saint Paul, MN – Xcel Energy Center Mon Nov 11 – Saint Paul, MN – Xcel Energy Center Wed Nov 13 – Chicago, IL – United Center Thu Nov 14 – Chicago, IL – United Center Sat Nov 16 – Kansas City, MO – T-Mobile Center Sun Nov 17 – Omaha, NE – CHI Health Center Omaha Tue Nov 19 – Denver, CO – Ball Arena Wed Nov 20 – Denver, CO – Ball Arena Tue Dec 03 – Vancouver, BC – Rogers Arena Thu Dec 05 – Seattle, WA – Climate Pledge Arena Fri Dec 06 – Seattle, WA – Climate Pledge Arena Sun Dec 08 – Portland, OR – Moda Center Tue Dec 10 – San Jose, CA – SAP Center at San Jose Wed Dec 11 – San Jose, CA – SAP Center at San Jose Fri Dec 13 – Glendale, AZ – Desert Diamond Arena Sun Dec 15 – Inglewood, CA – Kia Forum Mon Dec 16 – Inglewood, CA – Kia Forum Tue Dec 17 – Inglewood, CA – Kia Forum Tue Feb 18, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Wed Feb 19, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Fri Feb 21, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Sat Feb 22, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Mon Feb 24, 2025 – Sydney, Australia – Qudos Bank Arena Tue Feb 25, 2025 – Sydney, Australia – Qudos Bank Arena Thu Feb 27, 2025 – Sydney, Australia – Qudos Bank Arena Fri Feb 28, 2025 – Sydney, Australia – Qudos Bank Arena Tue March 4, 2025 –Melbourne, Australia – Rod Laver Arena Wed March 5, 2025 – Melbourne, Australia – Rod Laver Arena Fri March 7, 2025 – Melbourne, Australia – Rod Laver Arena Sat March 8, 2025 – Melbourne, Australia – Rod Laver Arena Wed Apr 23, 2025 – Stockholm, Sweden – Avicii Arena Thu Apr 24, 2025 – Stockholm, Sweden – Avicii Arena Sat Apr 26, 2025 – Oslo, Norway – Telenor Arena Mon Apr 28, 2025 – Copenhagen, Denmark – Royal Arena Tue Apr 29, 2025 – Copenhagen, Denmark – Royal Arena Fri May 2, 2025 – Hannover, Germany – ZAG Arena Sun May 4, 2025 – Amsterdam, Netherlands – Ziggo Dome Mon May 5, 2025 – Amsterdam, Netherlands – Ziggo Dome Wed May 7, 2025 – Amsterdam, Netherlands – Ziggo Dome Fri May 9, 2025 – Berlin, Germany – Uber Arena Thu May 29, 2025 – Cologne, Germany – Lanxess Arena Fri May 30, 2025 – Cologne, Germany – Lanxess Arena Sun June 1, 2025 – Prague, Czech Republic – O2 Arena Tue June 3, 2025 – Kraków, Poland – Tauron Arena Wed June 4, 2025 – Kraków, Poland – Tauron Arena Fri June 6, 2025 – Vienna, Austria – Stadthalle Sun June 8, 2025 – Bologna, Italy – Unipol Arena Tue June 10, 2025 – Paris, France – Accor Arena Wed June 11, 2025 – Paris, France – Accor Arena Sat June 14, 2025 – Barcelona, Spain – Palau Sant Jordi Sun June 15, 2025 –Barcelona, Spain – Palau Sant Jordi Mon July 7, 2025 – Glasgow, UK – OVO Hydro Tue July 8, 2025 – Glasgow, UK – OVO Hydro Thu July 10, 2025 – London, UK – The O2 Fri July 11, 2025 –London, UK – The O2 Sun July 13, 2025 – London, UK – The O2 Mon July 14, 2025 – London, UK – The O2 Wed July 16, 2025 – London, UK – The O2 Thu July 17, 2025 – London, UK – The O2 Sat July 19, 2025 – Manchester, UK – Co-op Live Sun July 20, 2025 – Manchester, UK – Co-op Live Tue July 22, 2025 – Manchester, UK – Co-op Live Wed July 23, 2025 – Manchester, UK – Co-op Live Sat July 26, 2025 – Dublin, Ireland – 3Arena Sun July 27, 2025 – Dublin, Ireland – 3Arena

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The Duke of Sussex will make his first major trip to the UK since the King's coronation last year.

Prince Harry, 39, will attend a thanksgiving service to celebrate the tenth anniversary of Invictus Games at St Paul's Cathedral in London on 8 May, but it is not known whether the Duke's wife, Meghan , and their two children, Prince Archie , four, and Princess Lilibet , two, will join him in the UK.

The Duchess last visited her husband's home country in September 2022. The Sussexes attended the One Young World summit in Manchester and had been due to appear at the WellChild Awards but had to miss the event following the death of Harry's grandmother, Queen Elizabeth II .

Harry and Meghan's visit to the UK was extended in order for them to attend Her Late Majesty's state funeral at Westminster Abbey in London.

On the latest episode of HELLO!'s A Right Royal Podcast , The Telegraph 's Royal Editor Hannah Furness talks about why Meghan is unlikely to return to the UK anytime soon.

"There is quite a heavy narrative that Meghan and the children won't be coming back until they can resolve this security issue to their liking," she says. "But he [Harry] will certainly be coming and going."

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Harry's lawyers filed an emotional witness statement to the High Court in December, in which the Duke explained why he and Meghan felt they had to move to the US after stepping back as senior royals in 2020.

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"The UK is my home. The UK is central to the heritage of my children and a place I want them to feel at home as much as where they live at the moment in the US. That cannot happen if it’s not possible to keep them safe when they are on UK soil.

"I cannot put my wife in danger like that and, given my experiences in life, I am reluctant to unnecessarily put myself in harm's way too."

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LOVE THE ROYALS? JOIN THE CLUB!

If you are reading this, the chances are you are obsessed with all things royalty – which is just as well because so are we! So obsessed, in fact, we’ve launched a club solely dedicated to covering them. So welcome to The HELLO! Royal Club . We would love you to join us there…

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Interactive community offering behind-the-scenes access, exclusive royal interviews, unmissable royal insights, and an illustrious royal  Inner Circle .

Member benefits

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Nicola Coughlan on Bridgerton Season 3, Polin, and 'Funny' Age Discourse

By Versha Sharma

Photography by Deirdre Lewis

Nicola Coughlan is 37 years old — which may be a surprise to newer fans of the actor — but she's been playing high schoolers for a decade or more. This fact has recently been at the center of an online discourse about the Bridgerton star , especially as promotions began for the series' upcoming and highly anticipated third season. Her age, though, is far from the most interesting thing to talk about with Coughlan: Just ask about when her family lived in Jerusalem, her experiences working myriad retail jobs while trying to succeed as a professional actor, or the time an earthquake struck New Jersey and rattled the World Trade Center in New York City in the middle of the cover shoot for this article.

“It’s super funny to me to see that [discourse] because I’ve never hidden my age,” Coughlan tells me via phone from Australia, where she and costar Luke Newton are promoting Bridgerton 's new season, just the beginning of what will be a global press tour.

Early in Coughlan's career, before her breakout role on Derry Girls , some casting directors refused to see her because of her age. “They said I was too old, and I was in my late 20s then," she recalls, "which is so sad that that would be considered ‘too old.’ In acting it’s all about suspension of disbelief. I always use the same comparison: Ian McKellen isn’t a wizard. I’m not a 19-year-old aristocrat from the 19th century. It’s all made up.”

There’s no real need for suspension of disbelief, though, because Coughlan is very believable as a teenager. “Growing up in the west of Ireland with very little sunlight, and not being able to afford holidays to sunny places, probably did my skin a lot of good,” she says jokingly.

Nicola Coughlan was born in Galway, Ireland, and grew up in the small town of Oranmore. She struggled to break into Hollywood, toiling throughout her 20s, trying to make ends meet and find time for auditions. Having to wait for success, though, gave Coughlan a clarity not all entertainers have. She says she’s a people pleaser, but she has the stiffest backbone of any celebrity I’ve met in a long, long time. And it’s not all due to her struggle: Part of it is down to her being Irish, part is down to her family, and part, as I’ve observed, is just who she is.

Coughlan may have had to wait for the spotlight, but now is her time to shine. “I am so lucky I get to do [this career],” she says, “because pretty much my whole 20s, I didn’t get to do it.”

When Bridgerton ’s third season premieres on May 16, Coughlan will be the lead in not one but two big projects. Bridgerton was Netflix’s most-watched English-language show when its last season premiered, and she’s also starring in Big Mood , a critically lauded dramedy in which she plays a completely different character in a completely different time period: a millennial with bipolar disorder struggling in modern-day London.

Coughlan, who stole scenes and the hearts of audiences as Clare Devlin in Derry Girls , went on to star in Bridgerton as Penelope Featherington, a shy wallflower with a massive crush on her good friend Colin Bridgerton, who is totally oblivious. Coughlan also plays — and this is a spoiler for the end of Bridgerton 's first season — Lady Whistledown, the clever, biting author of regular gossip columns about “the Ton” that rankle the queen and the general elite. Coughlan is equally convincing in her roles as a bright-eyed young woman in love and the confident, sharp-tongued scribe who turns Regency-era London on its head.

Each Bridgerton season has followed the romance of one main couple: Daphne and the Duke in season one; Anthony Bridgerton and Kate Sharma in season two; and now, Penelope and Colin, #Polin, in season three. Of course, the tension between the two characters has been building since the series started; when she and Newton were first told by showrunner Jess Brownell that it was their turn for the spotlight, Coughlan says it was “part exciting, part terrifying.”

“It was such a challenging experience, but one of the most rewarding experiences of my life,” she says of the intense eight months it took to film season three. “It’s fun. It’s a show that’s very light and full of joy, and full of drama. But I didn’t expect it to be a profound experience, and it was.”

Profound because, Coughlan says, she identifies with Penelope’s experience of being on the sidelines, waiting for her moment. “I think a lot of Penelope’s story is about her stepping out of the shadows and into the light and taking up her space,” she explains. “I felt like I had to do that as well. It’s funny.”

Bridgerton is famous for its steamy scenes, and Coughlan delights in riling up the fan base with teasers about how that’s going to play out in Polin’s season. A mirror plays a central role in the book's romance, and Coughlan knows exactly what she’s doing when she posts things like this .

One difference from the couples in previous Bridgerton seasons, though, is that Penelope and Colin have known each other for a long time in purely platonic terms. In real life, as in the show, that foundation of friendship has proved to be an advantage.

“Having shot [romance] scenes with Nicola and with actors that I would perhaps meet on the same day, I think a lot of people think it’s better not to know the person," Newton tells me during a visit to Teen Vogue ’s offices in January. "But I actually think having a really solid friendship with someone and trusting someone is a lot easier. We could support each other in whatever way we needed on set, and also just have a laugh about it. I’m really glad we got to share it together. It was like having a really close friend as you’re going through something that’s maybe quite daunting.”

There was a report that Newton and Coughlan were so comfortable together, they lounged naked between filming scenes. “Yeah, so it’s really funny,” Coughlan says with a laugh. “That is true. It is a testament to the fact that we just got to a point where we were so comfortable together. We’d just finished the big sex scene, the most intense and involved one…. and we just felt relieved.”

Plus, Coughlan continues, there was a logistical element to this lounging. They had on a tiny amount of “not even real clothes,” she notes, and they would have had to get up and be on display in front of the crew.

Speaking of the crew, the emotional payoff of Penelope and Colin finally getting together might be more meaningful for them than anything else. “They’ve been there since the beginning with Pen and Colin, and to see the big, burly camera guys getting emotional at stuff was sweet,” Coughlan recalls. A security guard came up to them at one point, she remembers, and said, "'I don’t normally say this. I've worked with lots of big stars, but this season's really special. And I'm really proud of you, and it's really touched me.' It was just pure kindness.”

Polin fans are legion, and they are passionate, especially now. At the end of Bridgerton 's second season, the Polin story was left hanging in the balance after Penelope overheard Colin gossiping about her with other men in the Ton, saying that he would never court her.

“It was devastating,” Newton says. “I think we did a read-through [on Zoom]. There’s obviously that internal conversation that goes through my head that’s like, I can’t. I can’t say that because I know what the response is going to be. Does he actually feel that way? It’s weird. There was so much going through my head. When I first read it, I was like, How am I going to live this down?”

But that moment became pivotal in puncturing Penelope’s love-tinted view of Colin. “I think it needed to happen for her," says Coughlan, "because she had him on such a pedestal. And I don’t believe you can truly love someone that you idealize like that. It’s not real love. I think she has love for him, but it’s not true love, because she doesn’t show her true self to him. He’s not aware.”

Newton acknowledges: “He’s got some making up to do.”

“Now the masks are finally off,” says Coughlan of season three. “They just wrote this season so beautifully…. I also think it’s a really relatable story. Everyone’s felt like that. Everyone’s felt overlooked and not good enough.”

Coughlan knows a thing or two about audience expectations. She is, after all, part of two pop culture juggernauts: Bridgerton, of course, and Barbie. In the latter, she had a cameo as Diplomat Barbie.

“This was something that Barbie also expressed so beautifully,” she says. “It’s how women struggle to love themselves and be good enough.”

When Coughlan auditioned for that blockbuster film, she was on vacation in Hawaii and just happened to have packed a pink corduroy dress. “I remember thinking, I will never use this. Why am I bringing it? Then the audition came in. I was like, That was it, it was fate. I was meant to have a Barbie-pink dress . I did the tape, it went to [director] Greta [Gerwig], and then my agent called and said, ‘She really likes you.’”

Coughlan felt over the moon when she heard that feedback — she has adored Gerwig since Frances Ha . “She is a genius, and she’s special, and she’s kind,” Coughlan says.

Unfortunately, there was a filming conflict with Bridgerton, so Coughlan wrote to Gerwig to express her willingness to play even a tiny role. “And I sent her a picture I have of myself with my Barbie car at age six, because I was a big Barbie girl.” She told Gerwig she’d been prepping for this role since that young age.

Coughlan continues, “I would have gone and done anything in that movie, honestly. I admire Margot [Robbie] so much — she’s a phenomenal actor, but everything she’s doing as a producer and bringing women’s stories to the screen [is so valuable].”

In the case of Barbie, Coughlan notes, it’s a good thing that it wasn’t about her six-year-old stories being brought to the screen. “My Barbies' backstories were far darker. There was a lot of murder…. One of them had sparkly eyes, and I was like, ‘It happened in an accident. Someone stole her eyes and she can’t see, but she’s got superpowers.’ Much darker. I’m glad they didn't let me write that movie," she says with a laugh. "It was good for everybody.”

The Barbie press tour became known for its iconic red-carpet looks , with Robbie replicating all sorts of classic Barbie outfits. Coughlan, too, had a standout Barbie moment in a sparkling custom dress, from New York designer Jackson Wiederhoeft , that she wore to the film's London premiere in July.

That was just one of many viral fashion moments Coughlan has had over the last few years of press tours and events. With her stylist Aimée Croysdill, she’s been able to both channel and transcend her characters with some showstopping, unforgettable looks , many of which are created by up-and-coming designers or those who prioritize positive environmental and social impacts.

For Barbie 's London premiere, Coughlan wanted to pay homage to her old Sparkle Eyes Barbie, which came through in the silver fabric and Swarovski crystals that were meant to reference Barbie’s diamond eyes.

During the cover shoot for this story — photographed by fellow Derry girl Deirdre Lewis — Coughlan's final look is a nod to the fashion moments she has created so far, featuring another gorgeous off-the-shoulder Wiederhoeft gown. Coughlan stands on a pedestal against a black backdrop. We’ve been bouncing all day to the recently released Beyoncé album, Cowboy Carter , and Coughlan's rep, Victoria, mentions the actor is also a big Chloe x Halle fan. We queue them up, and Coughlan takes the transformation even further — now she’s giving supermodel. The dresses are beautiful, but it’s Coughlan who carries them.

Coughlan has known she wanted to be an actor/entertainer since she was four years old, when she saw The Wizard of Oz for the first time. It was Christmas, she remembers, and her sister had taped it. “I watched it, and I didn’t really understand…. But I was like, ‘Whatever that is, I’m doing that,’” she says.

As a kid, Coughlan acted professionally, cast in small roles. “My first thing was a James Brolin movie — I was just, like, an extra. But I got to leave school for the day. I [was paid] 30 pounds and was like, ‘I’m rich! This is amazing.’”

But it wasn’t a straight shot from there to Bridgerton . Coughlan recalls her extensive history, how she went to acting school in Birmingham, then tried to find professional work, and moved back and forth between London and Ireland as she ran out of money or otherwise came up short. “It was just a washout,” she says. “I was working in retail and spending all my money on rent, having no time to go to auditions, and not really getting auditions. The ones I was getting were really bad. You feel a bit like a fool. Because it's such a dream, you're like, Am I kidding myself? And your family are worried because you've got no money and you're living off ramen noodles.”

And there was the age thing. As she neared 30, sometimes she couldn’t even get in the door to audition. Some actors might “knock a couple of years off” their age, and Coughlan says she can’t blame them: “The industry is really ageist, especially towards women.” But Coughlan wanted to remain true to herself, partly to show other women that “we shouldn’t be ashamed.”

It paid off. At age 29, she got the audition for Derry Girls . But five days before she found out she got the part, her dad died suddenly. In the space of one week, Coughlan says, she had some of the worst and best times of her life.

Her father remains an enormous influence on her to this day. He served in the Irish army, part of which Coughlan describes as a peacekeeping force because Ireland is a neutral country. “He would go into a lot of war-torn regions after the conflict and try and help rebuild. He used to work with the UN on a lot of peacekeeping missions," she explains. "My family lived in Jerusalem back in the late '70s, early ’80s, before I was born, so I heard firsthand stories about them living there. He spent so much of his life doing that. He was in Syria, he was in Honduras, he was everywhere.”

This brings us to a topic that, if it were anyone else, might have to go through several levels of approval from a talent rep or publicist: Gaza.

Since the October 7 Hamas attack on Israel, and Israel’s subsequent bombing of much of the Gaza Strip, Coughlan has consistently posted on her Instagram, drawing attention to the humanitarian crisis in the region. She has also raised tens of thousands of pounds through Instagram fundraisers she organized, a definitive action, she says, that people with platforms like hers can take to drive change.

Many celebrities find it a difficult topic to navigate. Not Coughlan. She’s an open book, and a vocal advocate for the people, especially the children, of Palestine . “I think it’s important to me because firstly, I’m a very privileged person,” she says. “I’m so lucky I’ve gotten to this point in my career, and I’m privileged as a white woman, first off. Then the fact that I get to do the job I love and travel the world and meet amazing people, I feel a moral responsibility to give back."

She notes, “Even before I was on television, I was involved in different causes. I went campaigning door-to-door for marriage equality in Ireland, I went on marches for abortion rights. I’ve always cared about causes and social justice.”

Coughlan continues, "To me it always becomes about supporting all innocent people, which sounds oversimplified, but I think you’ve got to look at situations and just think, Are we supporting innocent people no matter where they’re from, who they are? That’s my drive.”

In addition to her family's personal connection with the area, Coughlan points out that “there's a huge connection between Ireland and Palestine that maybe a lot of people aren't aware of, and a shared history.”

She acknowledges, too, the precarious state of Hollywood when it comes to what’s happening in Gaza. “You do get told, ‘You won’t get work,’ ‘You won’t do this.’ But I also think, deep down, if you know that you’re coming from a place of ‘I don’t want any innocent people to suffer,’ then I’m not worried about people’s reactions.”

Coughlan has heard that certain agents, agencies, and studios potentially won’t want to work with her because of her advocacy, but she still proudly wears her Artists4Ceasefire pin. (Their statement says they “come together as artists and advocates, but most importantly as human beings witnessing the devastating loss of lives and unfolding horrors in Israel and Palestine,” and calls for the “safe release of hostages” as well as an “end to the bombing of Gaza.”) She’s in the midst of a global press tour — and will likely accrue millions of new followers — and she’s still posting about the crisis.

She thinks social media has boxed people into certain corners, making things seem only black or white, when we live in a world where multiple things are true at once. “More of us should be trying to understand…how upsetting and traumatizing this is for Jewish people, and how horrific it is that all these innocent people in Palestine are being murdered," she says.

Coughlan's posts have even inspired some Bridgerton fans to organize and raise their own funds on the internet. Though Coughlan left Twitter, now X, years ago, there’s an account on the platform called Polins x Care for Gaza, and the group has worked with at least four other fan accounts to raise thousands of dollars for Care for Gaza , a nonprofit that helps displaced Palestinian families. They just kicked off a second part of their fundraiser a few days ago. One way they raise money: raffling off Polin fan art . It’s the purest form of fandom, and shows how fandom can be a force for good.

“It's a testament to the people that follow me being so kind and generous,” Coughlan says. “I feel like, in the nicest way possible, my opinion on situations doesn't matter, but because I have a platform and I have a couple of million people on there, if I can raise a little bit of money, isn't that an amazing thing to do? And if you can amplify voices of anyone in the world who's going through tough situations, I just think, why would you not do that?”

What matters, Coughlan says, is that when she’s on her deathbed, thinking about her life, whether she can say she used her influence to make a positive impact on the world.

The moral clarity with which Coughlan views the world is distinctive, and admirable. It probably has to do with how she knew herself to her core before any kind of fame came along. She also credits the Irish friends and family members who keep her honest, as when Vogue named her one of the “best-dressed women in the world” and they found it “absolutely hilarious.”

For St. Patrick’s Day this year, the Taoiseach (prime minister) of Ireland visited President Joe Biden and American lawmakers. Former Irish president Mary Robinson, that country’s first woman president, used the opportunity to directly call on Taoiseach Leo Varadkar to pressure Biden on a ceasefire in Gaza and hold the Israeli government accountable for blocking aid to Palestine.

Coughlan reposted to her Instagram Stories a 60-second clip of her speaking , captioned, “Mary Robinson, who makes me proud to be Irish.”

And Ireland is proud of Coughlan.

In 2021, she won the Rising Star Award from the Irish Film & TV Academy. Since then the cultural accolades have only piled up. And Coughlan is ascending amid a huge Irish wave of success in Hollywood, with Oppenheimer 's Cillian Murphy taking home the Oscar for best actor, and Paul Mescal and Andrew Scott stealing hearts as the internet’s boyfriends. We can’t forget Barry Keoghan, who delivered one of the most mesmerizing performances of the year in Saltburn , and even Ayo Edebiri — “I love that we’ve adopted her,” Coughlan says with a laugh, referring to a running joke that Edebiri started about playing the donkey, Jenny, in the Irish film The Banshees of Inisherin.

An arts company painted a Derry Girls mural in Northern Ireland. When I post on Instagram from a Big Mood screening in New York, an Irish friend responds, “She’s amazing. Adored over here!”

It’s now early April. We’re at a fashionable hotel restaurant in midtown Manhattan. Coughlan, who is in town to promote Big Mood , has about 90 minutes before she needs to get hair-, makeup-, and outfit-ready to appear on Watch What Happens Live With Andy Cohen , where she impresses the crowd with her knowledge of reality TV. (Another charming thing about Coughlan: She’s extremely online .)

Later in the same week, there’s a premiere of Big Mood at Manhattan's Whitby Hotel, to celebrate the show's streaming debut on Tubi in the U.S. (in the UK, it's available on Channel 4). Coughlan is holding court after the screening, champagne glass in hand, wearing a chic black suit and her ceasefire pin . She’s chatting with friends and attendees when some reviewers approach her and say, “You’re the funniest person on TV.” Coughlan is graciously taken aback, and buoyed by the compliment.

They’re not wrong. As Maggie in Big Mood , Coughlan delivers some truly laugh-out-loud lines, while also bringing an incredible amount of pathos to the character, who has bipolar disorder and struggles with therapy and finding the right medication. The Guardian called Coughlan a “force of nature” for her performance, and the show has been lauded for its very realistic depiction of mood disorders, including manic episodes and depression.

Having experienced depression herself , Coughlan says, it was very important to her and the show’s team to be as true to life as possible. The show starts off on a fun high note, demonstrating why it's the best-reviewed millennial comedy of its kind since Phoebe Waller-Bridge’s Fleabag, but the six-episode run ends on a devastating, if realistic, note. Coughlan and costar Lydia West want to come back and resolve that, so they are hopeful the show will get picked up for a second season.

There were three weeks of filming when Bridgerton and Big Mood overlapped, enabling Coughlan to truly show her range. Somehow she successfully went back and forth between the two very different characters and pulled it off.

After all her hard work, now everyone is noticing Coughlan’s talent, humor, and her character. Although the cameras have stopped rolling for the moment, she’s nowhere near being idle. After our cover shoot, she rushes off to see a play. The next night, she attends a Saturday Night Live taping, when fellow blonde and comedy queen Kristen Wiig is hosting. Then it’s back to London for a week of seemingly nonstop appearances before she flies to Australia for Bridgerton ’s first in-person press there.

She’s now just at the beginning of a world tour that will take her all over Europe, to South Africa, and back to Brazil — “They are incredible,” Coughlan says, having visited last year. “Brazilians make everyone feel like Beyoncé. They're so lovely.”

Perhaps most meaningfully, the Bridgerton world tour will also take her back home to Ireland. “It's exhausting, but it's so rewarding,” says Coughlan, who has dreamed of and worked for this for decades. “It's still worth it. All the tiredness, everything. It's all so worth it.”

Photo Credits

Photographer Deirdre Lewis

1st Photo Assistant Chad V. Hilliard

Lighting Director Marion Grand

Digitech Julian Lopez

Post / Retoucher Picturehouse

Set/Prop Designer Wayout Studio Co

Stylist Carolina Orrico

Stylist Assistant Radhika Patel

Tailor Toni Debuono

Assistant Fashion Editor Tascha Berkowitz

Hair Stylist Sergio Estrada

Makeup Artist Daniel Martin

Producer Hannah Kinlaw + Chelsea Moynehan of Statement Of

Production Assistant Noah Schmitz

Design Director Emily Zirimis

Designer / Production Liz Coulbourn

Visual Editor / Production Bea Oyster

BTS Video Credits

Video Director Mi-Anne Chan

Video Producer Amalie MacGowan

Social Video Director Ali Farooqui

DP Mar Alfonso

Editorial Credits

Editor-in-Chief Versha Sharma

Features Director Brittney McNamara

Talent Director Eugene Shevertalov

Senior Culture Editor P. Claire Dodson

Contributing Editor Alyssa Hardy

Associate Director of Audience Development and Analytics Mandy Velez Tatti

Sr. Social Media Manager Honestine Fraser

Social Media Manager Jillian Selzer

Copy Editor Dawn Rebecky

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