Arts & Entertainment
Vogue drops Mario Testino, Bruce Weber amid sexual misconduct allegations
both men face multiple harassment accusations
(Mario Testino and Bruce Weber. Photos by Walterlan Papetti and Christoper Macsurak via Wikimedia Commons.)
Photographers Mario Testino and Bruce Weber have been dropped from Vogue and Condé Nast over sexual misconduct allegations from numerous male models in a report from the New York Times.
15 former and current male models accused Weber, known for his sexually charged ad campaigns for Abercrombie & Fitch, Calvin Klein and Ralph Lauren, of being inappropriate with them during photo shoots.
“I remember him putting his fingers in my mouth, and him grabbing my privates,” model Robyn Sinclair told the New York Times. “We never had sex or anything, but a lot of things happened. A lot of touching. A lot of molestation.”
The models allege that Weber would require them to participate in nude “breathing exercises” which would involve Weber touching the models or them touching him. Model Joseph Ardolf says in 2011 when he was 20 years old Weber “forced his hand right on my genitals” during a breathing exercise. Ardolf feared he would lose future modeling opportunities if he spoke up.
“Like my agency said, he has a lot of power. He’s done a lot of large campaigns. That was in the back of my mind. ‘I can’t screw this up. I already made it this far,” Ardolf told the New York Times.
Testino also faces multiple sexual misconduct allegations from 13 male models and former assistants. The photographer is known for his work in Vogue and Vanity Fair including Vogue’s most recent cover shoot featuring Serena Williams. Testino also had a close working relationship with the British royal family. He photographed Princess Diana for Vanity Fair in 1997. Testino also photographed Prince William and Kate Middleton’s engagement photos and Princess Charlotte’s 2015 christening.
Model Ryan Locke calls Testino a “sexual predator” who made an unwelcome advance on him while they were shooting an ad for Gucci. Locke says while he was being photographed on a bed Testino asked everyone to leave the room so the two of them were alone.
“Then he crawls on the bed, climbs on top of me and says, ‘I’m the girl, you’re the boy,'” Locke says. “I went at him, like, you better get away. I threw the towel on him, put my clothes on and walked out.”
Testino’s former assistant Roman Barrett alleges that in the late ’90s Testino rubbed against his leg while having an erection. He then proceeded to masturbate in front of Barrett.
Both Weber and Testino have denied these allegations.
“I have used common breathing exercises and professionally photographed thousands of nude models over my career, but never touched anyone inappropriately. Given my life’s work, these twisted and untrue allegations are truly disheartening. I’ve been taking pictures for over 40 years and have the utmost respect for everyone I’ve ever photographed. I would never, ever, try to hurt anyone or prevent someone from succeeding — it’s just not in my character,” Weber said in the statement to the New York Times.
Meanwhile, Testino’s lawyers have questioned the credibility of the accusers stating that they “cannot be considered reliable sources.”
Vogue and Condé Nast have severed ties with the photographers. Creative Director of Condè Nast Anna Wintour released a statement saying that the publishing house’s work relationship with the two men has been put “on hold for the foreseeable future.”
“Today, allegations have been made against Bruce Weber and Mario Testino, stories that have been hard to hear and heartbreaking to confront. Both are personal friends of mine who have made extraordinary contributions to and many other titles at Condé Nast over the years, and both have issued objections or denials to what has emerged,” the statement reads. “I believe strongly in the value of remorse and forgiveness, but I take the allegations very seriously, and we at Condé Nast have decided to put our working relationship with both photographers on hold for the foreseeable future.”
Fashion brands Burberry, Michael Kors and Stuart Weitzman have also confirmed to WWD that they will no longer be working with Weber or Testino.
Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.
(Washington Blade photos by Michael Key)
Arts & Entertainment
Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week
Pride on the Pier officially launches Pride Week in D.C.
The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.
Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.
“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”
Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.
Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.
Event Details:
📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026
⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP
Theater
National tour of ‘Gatsby’ comes to National Theatre
Out actor Edward Staudenmayer talks playing the show’s gangster
‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com
Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.
Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.
It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”
Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).
While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.
WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?
EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].
There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.
BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.
STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].
BLADE: When did the 1925 novel first surface on your radar?
STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.
Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.
BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?
STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.
Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.
BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?
STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.
BLADE: Have you had to do that in your career?
STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.
It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.
BLADE: What was your coming of age like?
STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.
BLADE: Did he live to see your success in theater?
STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.
BLADE: Looking ahead, is there a part you’d especially like to play?
STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.
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