Large Print Guide
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Sponsored by
Vogue 100: A Century of Style has been organised by
the National Portrait Gallery, London in collaboration with
British Vogue as part of the magazine’s centenary celebrations.
While principally a fashion magazine, Vogue has never
been just that. Since its first issue in 1916, it has assumed a
central role on the cultural stage with a history spanning the
most inventive decades in fashion and taste, and in the arts
and society. It has reflected events shaping the nation and
the world, while setting the agenda for style and fashion.
Tracing the work of era-defining photographers, models,
writers and designers, this exhibition moves through time
from the most recent versions of Vogue back to the
beginning of it all...
24 June – 30 October
Free entrance
A free audio guide is available at: bit.ly/vogue100audio
Entrance wall:
The publication Vogue 100: A Century of Style and a selection
of Vogue inspired merchandise is available in the Gallery Shop
on the ground floor.
‘Mighty Aphrodite’ Kate Moss
by Mert Alas and Marcus Piggott, June 2012
Photography is not permitted in this exhibition
For Vogue’s Olympics issue, Versace’s body-sculpting
superwoman suit demanded ‘an epic pose and a spotlight’.
Archival C-type print
Courtesy of Mert Alas and Marcus Piggott
Introduction — 3
FILM ROOM
Drawn from the following films:
HEAT WAVE Damaris Goddrie and Frederikke Sofie
dir. Tyrone Lebon, February 2016
OUT OF THE SHADE Dakota Johnson
dir. Alasdair McLellan, February 2016
KARLIE KLOSS AND LES TWINS dir. Ivan Shaw;
photographer Patrick Demarchelier, December 2015
THE FUTURE OF FASHION Alexa Chung
dir. Jim Demuth, September 2015
OUCH! THAT’S BIG Anna Ewers
dir. Canada, July 2015
HOW TO WEAR PINK Ola Rudnicka
dir. Bertrand Le Pluard, July 2015
MERCURY RISING Freya Beha Erichsen
dir. Glen Luchford, June 2015
KARLIE KLOSS dir. Columbine Goldsmith, December 2015
AT HOME WITH POPPY DELEVINGNE
dir. Barbara Anastacio, June 2015
THE SPY WHO LOVED ME Léa Seydoux
dir. Jeremie Rozan, November 2015
COUTURE QUEEN Emilia Clarke dir. Francesco Roversi;
photographer Paolo Roversi, May 2015
COOKING UP A STORM Sienna Miller
dir. Mario Testino, October 2015
SEVIGNY STYLE Chloë Sevigny dir. Tyrone Lebon, May 2015
HOW TO BE BRITISH Sienna Miller
dir. Justin Anderson, October 2015
BROOKLYN BECKHAM’S GUIDE TO INSTAGRAM
dir. Niall Kenny, October 2015
THE SHINING Line Brems, Aamito Lagum and Kiki Willems
dir. Francesco Roversi; photographer Paolo Roversi
September 2015
ON GENDER EQUALITY Stella McCartney,
Erdem Moralioglu, Jonathan Saunders and Emma Watson
dir. Kathryn Ferguson, September 2015
4 — Film Room
IN THE LAND OF DREAMY DREAMS Karen Elson
dir. Tim Walker, May 2015
MISS VOGUE’S DATE WITH CRESSIDA BONAS
dir. Sean Thomas, April 2015
GIRLS ON FILM Cara Delevingne, Georgia May Jagger
and Suki Waterhouse dir. Mario Testino, April 2015
DARK ANGEL Aya Jones, Xiao Wen Ju, Harleth Kuusik, Yumi
Lambert and Nastya Sten dir. Tim Walker March 2015
NATURAL WONDER Mia Goth dir. Joe Conrad Williams;
photographer Harley Weir, January 2015
Film Room — 5
THE SHOOTING PARTY
dir. Tim Walker, December 2014
THE FACE Cara Delevingne
dir. Alasdair McLellan, January 2014
TAYLOR MADE Taylor Swift
dir. Mario Testino, November 2014
MADE IN BRITAIN – Edie Campbell, Jean Campbell, Karen
Elson, Malaika Firth, Stephen Jones, Kate Moss
and Gareth Pugh dir. Tim Walker, December 2013
THE HOMECOMING Naomi Campbell
dir. Bruce Weber, September 2014
THE POSH TEST Matthew Beard, Douglas Booth, Sam Claflin,
Jack Farthing, Freddie Fox, Josh O’Connor and Sam Reid
dir. Pundersons Gardens; photographer Scott Trindle
August 2014
THE BAD BOY OF BALLET – Sergei Polunin
dir. Matty Melvin; photographer Nik Hartley
October 2013
MEET ME IN MONTAUK Jean Campbell and Ian Mellencamp
dir. Bruce Weber, October 2013
WAY OUT WEST Dree Hemingway
dir. Angelo Pennetta, July 2014
PRIMA DONNA Catherine McNeil
dir. Mario Testino, September 2013
ELLE OF THE BALL Elle Fanning
dir. Angelo Pennetta June 2014
PINK LADY Cara Delevingne dir. Lucy Luscombe;
photographer Walter Pfeiffer, September 2013
LIFE THROUGH A LENS Suvi Koponen
dir. Glen Luchford, April 2014
ALL ABOUT EDIE Edie Campbell dir. Mike Cunliffe;
photographer David Sims, April 2013
PARADISE CITY Charlotte Free and Georgia May Jagger
dir. Tyrone Lebon, March 2014
HEARTBREAK HOTEL Guinevere van Seenus
dir. Charlie Robins; photographer Javier Vallhonrat
April 2013
POP CORE Kätlin Aas, Lexi Boling and Sam Rollinson
dir. Pundersons Gardens; photographer Craig McDean
March 2014
RAINBOW BABE Daria Werbowy
dir. Mario Testino, March 2014
MEET THE MODELS Georgia May Jagger, Sam Rollinson
and Charlotte Wiggins dir. Lucy Luscombe, February 2014
6 — Film Room
IF I TAKE YOUR PHOTOGRAPH, WILL YOU TAKE MINE?
Mia Wasikowska dir. Bruce Weber, September 2012
Conceived and compiled by
Venetia van Hoorn Alkema and Jana Otte
Music mixed by John Monkman
Running time: 3 minutes
Film Room — 7
ICONS
100 YEARS IN VOGUE
‘MODERN MARINERS PUT OUT TO SEA’
by George Hoyningen-Huene, July 1930
Swimwear by Izod. The subjects share a sporty boyishness.
‘Modern people,’ Huene observed, ‘seem so androgynous to me’.
From 1916 to today, Vogue’s image-makers have not just
been the great names in fashion and portraiture, but the
great names of modern photography itself: from Baron Adolph
de Meyer to Mario Testino, from Irving Penn to Nick Knight.
Here, at the start of this century-wide survey, is a selection
from Vogue’s greatest moments.
Vintage bromide print
Collection of William T. Hillman, New York;
promised gift to the Carnegie Museum of Art, Pittsburgh
From left to right beneath ‘100 YEARS...’ signage:
A bomb-damaged staircase in Grosvenor Square
and an evening gown by Rahvis.
DOLORES WITH CRYSTAL BALL
by Baron Adolph de Meyer, May 1919
Vintage bromide print
The Condé Nast Archive, London
A Ziegfeld showgirl, Dolores was the star of Midnight Frolic.
A clip in platinum and diamond by Cartier fixes her veil.
Vintage bromide print
Qatar Museums
DETOLLE CORSET FOR MAINBOCHER
by Horst, September 1939
Madame Bernon wears a corset designed for the American
couturier Mainbocher. This was the German photographer
Horst’s last photograph before fleeing Paris for the United States.
When he returned it was as an American citizen.
‘RENAISSANCE’ Wenda Rogerson, London
by Clifford Coffin, June 1947
YVES SAINT LAURENT AT HIS
FIRST COLLECTION, PARIS by Irving Penn,
February 1958 (unpublished version)
The 22-year-old designer was appointed head designer
at Christian Dior in 1957, following the death of the fashion
house’s founder.
Bromide print (printed later)
The Irving Penn Foundation
Vintage bromide print
Courtesy of Andrew Cowan
8 — Icons
Icons — 9
TWIGGY ON A RALEIGH MOTOR BICYCLE
by Ronald Traeger, July 1967
‘FASHION’S NEW SPIRIT’ Sarah Murray in South London
by Corinne Day, March 1993
‘Twiggy is called Twiggy,’ explained Vogue, ‘because she looks
as if a strong gale would snap her in two and dash her to the
ground’. Seersucker dress by Twiggy at Miss Selfridge.
‘Floaty layers in a field of dreams’, a long coat
and shift dress by Comme des Garçons.
Vintage bromide print
Courtesy of Tessa Traeger,
Keeper of the Ronald Traeger Archive
‘SCENES FROM THE SOVIET UNION’
Jerry Hall in Armenia by Norman Parkinson, January 1976
On top of the statue of Thamar on the banks of Lake Sevan,
Armenia, in a jersey swimsuit by C&A.
Archival C-type print from original colour transparency
Norman Parkinson Ltd/ Courtesy Norman Parkinson Archive
‘UNDER WESTON EYES’ Bruce Hulse and Talisa Soto
by Bruce Weber, 1982
This homage to the American photographer Edward Weston’s
way of seeing and way of life was shot in and around Weber’s
home in Long Island.
Vintage bromide print
The Condé Nast Archive, London
10 — Icons
Vintage C-type colour print
The Condé Nast Archive, London
‘GOLD KATE’ by Nick Knight, December 2000
The theme for the end of the first year of the new millennium
was gold and all it signified. For Vogue the most inventive British
designers created special gold outfits. The swan-necked profile
was by now instantly recognisable.
Screen print on foil
Courtesy of Nick Knight and SHOWstudio
‘HOPE AND GLORY’ Kate Moss
by Mario Testino, October 2008
In the Master Shipwright’s House at Deptford, a dress and
guipure by Elie Saab Couture and vintage union flag jacket
by Russell Sage.
Archival C-type print
Courtesy of Mario Testino
Icons — 11
A CENTURY IN PRINT
The Vogue Library has an archive of priceless photographs,
numbering many hundredsof thousands, as well as the collection
oforiginal magazines. Dating back to 1916, many remain as fragile
single issues, but historically a copy of each was also bound into
volumes for reference. There are over 1500 issues of British
Vogue, as well as various spin-offs. As much as its photographs,
these are - as the magazine put it in 1942 - ‘the stuff of Vogue’.
In these cases is one original copy from each year of
Vogue’s existence. The timeline of copies includes Vogue
covers, illustrated and photographic, and a selection of double
page spreads. Apart from showing Vogue’s photographs and
illustrations in context, it presents another important aspect of
the magazine’s history: its art direction and graphic design for
which it has been celebrated throughout the century.
Late February 1919
Fashion illustrations by Helen Dryden
Late March 1920
Cover illustration by George Plank
On loan from the Museum of London
Early May 1921
Cover illustration by George Plank
On loan from the Museum of London
Early December 1922
Fashion posed by Justine Johnstone
Photographs by Beck & Macgregor
Starting from by the main entrance, follow the cases
back and forth across the room from left to right:
Late May 1923
Portrait of Coco Chanel by Wladimir Rehbinder
All issues on loan from the archive of British Vogue
unless otherwise stated.
Early January 1924
‘London’s Music’ Illustrations by Edmond Kapp
Late September 1916
The first issue of Vogue. Cover by Helen Thurlow
Late January 1925
Cover illustration by Georges Lepape
Terence Pepper Collection
Early January 1917
Frontispiece of Mrs Vernon Castle by Victor Georg
Early September 1918
Cover illustration by Helen Dryden
Early November 1926
Portrait of Charlie Chaplin by Edward Steichen
Michelle Meyer-Masterson/Elegantly Papered
28 December 1927
‘The Fun of Dressing Up’ Illustration by Cecil Beaton
Terence Pepper Collection
12 — Magazines
Magazines — 13
18 April 1928
‘Art Deco’ interiors. Photographs by Harting and Chevenon
On loan from the Museum of London
23 December 1936
‘Chelsea Arts Ball’ Illustration by Simeon Braguin
Vince Aletti Collection
6 February 1929
Cover illustration by Georges Lepape
Vince Aletti Collection
9 June 1937
Wedding day at the Château de Candé. Portraits by Cecil Beaton
9 July 1930
‘The Hand-Knit Swimsuit Swims into Fashion’
Photographs by George Hoyningen-Huene
20 July 1938
‘Primer of Art’
Terence Pepper Collection
6 September 1939
‘Where There’s a Will, There’s a Waist’ Photograph by Horst
10 June 1931
Cover illustration by Jean Pagès
Vince Aletti Collection
13 April 1932
Cover illustration by Georges Lepape
On loan from the Museum of London
3 May 1933
Cover illustration by Alex Zeilinger
Vince Aletti Collection
3 October 1934
‘Variety in Silhouette’ Photographs by George Hoyningen-Huene
Robin Muir Collection
August 1940
Cover photograph of Lisa Fonssagrieves by Horst
February 1941
‘Your Hair’ Photograph by Horst
March 1942
‘The Personality of Planes’ Text and illustrations by Paul Nash
December 1943
Cover photograph by John Rawlings
July 1944
‘The Apotheosis of the Bicycle’ Photographs
by Norman Parkinson
15 May 1935
Cover illustration by ‘Eric’ [Carl Erickson]
14 — Magazines
Magazines — 15
April 1945
‘Through the Alsace Campaign’
Text and photographs by Lee Miller
February 1954
An adaptation of the Bank of England’s Common Seal
Cover design by John Parsons
January 1946
Cover photograph by Erwin Blumenfeld
March 1955
Cover photograph by John Rawlings
April 1947
Christian Dior’s first collection Illustration by Lila de Nobili
Portrait of Dior by Clifford Coffin
August 1956
Cover photograph by Norman Parkinson
October 1948
‘Penn Portraits’
June 1949
‘Matisse Designs a New Church’ Text by Rosamond Bernier,
Portrait by Clifford Coffin
June 1950
Cover photograph of Jean Patchett by Irving Penn
August 1951
‘The Festival of Britain’ Photographs by Anthony Denney
March 1952
The death of George VI. Cover design by John Parsons
July 1953
The coronation of Elizabeth II
Portrait and illustration by Cecil Beaton
September 1957
The Paris Collections Photograph by William Klein
Illustration by René Bouché
September 1958
‘Young Idea’ Photographs by Norman Parkinson
November 1959
‘Va-va-voom!’ Photographs by Tony Armstrong Jones
Early March 1960
Cover photograph by Claude Virgin
October 1961
‘Evening Looks and All that Jazz’
Photograph by Brian Duffy
September 1962
‘Tribute to Marilyn Monroe’ Portrait by Bert Stern
June 1963
Cover photograph of Sandra Paul by Peter Rand
16 — Magazines
Magazines — 17
January 1964
‘The Big Mad Fur’ Photographs of Jean Shrimpton
by David Bailey
August 1965
Cover photograph of Jill Kennington by David Bailey
March 1966
Cover photograph of Donyale Luna by David Bailey
January 1967
‘How to Stop Over Impressing Your Friends….’ by Arabella Boxer
Illustration by Alan Aldridge
March 1968
‘Rain’ Photograph by Helmut Newton
August 1969
‘Art Deco’s Second Flowering’ Text by Bernard Nevill
Photographs of Grace Coddington by Barry Lategan
November 1973
Cover photograph of Princess Anne by Norman Parkinson
July 1974
‘Play it Again, Sam…’ Marie Helvin by Willie Christie
September 1975
‘Delicious Knits with Plain and Purl’ by Sarah Moon
October 1976
Vogue’s Diamond Jubilee issue. Cover design by Terry Jones
September 1977
‘What a Rip-off’ Photographs by Lothar Schmid
December 1978
‘Pink and Sparkling Presence’ Photographs by Albert Watson
December 1979
‘The Iman Factor’ Text by Harlan Kennedy. Portrait by Snowdon
July 1970
Cover photograph of Marisa Berenson and Helmut Berger
by David Bailey
April 1980
Cover photograph of Carol Alt by Alex Chatelain
March 1971
‘The Paris Collections’ Photographs by Barry Lategan
August 1981
The marriage of the Prince of Wales to Lady Diana Spencer.
Portraits by Snowdon
January 1972
‘Satin and Rubber, to Boot! Rubber, to Heel!’
Photographs by Tessa Traeger
December 1982
‘Under Weston Eyes’
Photographs by Bruce Weber
18 — Magazines
Magazines — 19
July 1983
‘Filming after a Fashion’ Photographs by Bruce Weber
October 1984
‘Vogue Food’ Text by Arabella Boxer
Photograph by Tessa Traeger
April 1985
Cover photograph of Michelle Eabry by Patrick Demarchelier
August 1986
‘New Day at the London Collections’ Photographs of Yasmin
LeBon by Peter Lindbergh
December 1987
Cover photograph of Naomi Campbell by Patrick Demarchelier
October 1988
‘Passion Flower’ Text by Victoria Glendinning
Portrait of Dame Barbara Cartland by Snowdon
February 1989
‘The New Madonna’ Text by Sarajane Hoare
Portraits by Herb Ritts
January 1990
The Supermodels. Photograph by Peter Lindbergh
June 1991
Vogue’s seventy-fifth anniversary issue. Portrait of Linda
Evangelista, Christy Turlington and Cindy Crawford by Herb Ritts
Vogue’s seventy-fifth anniversary supplement
Portrait of Yasmeen Ghauri by Tyen (after Horst, 1940)
20 — Magazines
October 1992
‘The Paris Collections’ Photograph of Tatjana Patitz
by Max Vadukul
December 1993
‘Anglo-Saxon Attitude’ Photograph of Honor Fraser
by Steven Meisel
August 1994
‘Small Wonder’ Text by Lesley White
Photographs of Kate Moss by Juergen Teller
March 1995
‘Dress to Dazzle’ Photograph of Linda Evangelista by Nick Knight
March 1996
Cover photograph of Helena Bonham Carter by Kim Knott
October 1997
Memorial cover for Diana, Princess of Wales
Portrait by Patrick Demarchelier
December 1998
‘Earth Girls’ Photograph of Kirsty Hume at Glastonbury
by Tim Walker
December 1999
Vogue’s millennium issue. Cover design by Robin Derrick
October 2000
‘Man Child’ Text by Justine Picardie
Portrait of Robbie Williams by Mario Testino
Magazines — 21
February 2001
Photograph of Naomi Campbell by Mario Testino
January 2002
‘Fashion’s Force’ Cover photograph by Mario Testino
May 2003 ‘Still Rolling’
Portrait of The Rolling Stones by Mario Testino
December 2004
‘The Greatest Show on Earth’ Photograph of Erin O’Connor
by Tim Walker
July 2005
‘Lily Takes a Trip’ Photograph of Lily Cole in India by Tim Walker
December 2006
Vogue’s ninetieth anniversary issue
Cover design by Robin Derrick
September 2010
‘Dark Angel’ Text by Charlotte Sinclair
Portrait of Jamie Bochert by Hedi Slimane
June 2011
‘Road to Revolution’ Text by Rana Kabbani
April 2012
‘Great Expectations’ Portrait of Sienna Miller
by Ryan McGinley
March 2013
Cover photograph of Cara Delevingne
by Mario Testino
January 2014
‘The Face’ Portrait of Cara Delevingne
by Alasdair McLellan
December 2007
‘Naomi’ Photographs by Patrick Demarchelier
September 2015
‘Fade to Black’ Photographs of Estella Boersma
by Jamie Hawkesworth
December 2008
‘Fantastic Fashion Fantasy’ Photograph of Kate Moss
by Nick Knight
June 2016
Vogue’s Centenary issue. Cover photograph of HRH
The Duchess of Cambridge by Josh Olins
October 2009
‘Brilliantly British’ Photograph of Kate Moss
by Mario Testino
22 — Magazines
Magazines — 23
2010s
4 — ‘AN AWFULLY BIG ADVENTURE’
Kirsi Pyrhonen in Mongolia by Tim Walker, December 2011
Starting below the 2010s signage:
2
4
1
3
6
7
5
8
9
1 — SAM ROLLINSON AND MAX MINGHELLA
IN YORKSHIRE by Alasdair McLellan, August 2013
The young actor and the star model modelled the British
collection in and around the latter’s home town in south Yorkshire.
Wool dress by JW Anderson.
Archival black and white bromide print
Alasdair McLellan
2, 3 — HRH THE DUCHESS OF CAMBRIDGE
by Josh Olins, January 2016
Photographed in Norfolk for the June 2016 centenary issue
of British Vogue.
C-type print and silver gelatin print
Courtesy of Josh Olins
Finding common ground, a goat-hair jacket by Giles, a goat-fur
jacket as headpiece by Isabel Marant and a wild marshland yak.
Archival pigment print
Courtesy of Tim Walker
5 — ‘PRIVATE DANCER’ Guinevere van Seenus as
Vargas pin-up by Javier Vallhonrat, April 2010
The Jazz Age posters of illustrator Alberto Vargas inspired the
season’s seductive style. Silk cape from Tour de Force, silk bra
by Jean-Paul Gaultier and hot-pants by Laura Urbinati.
Archival C-type print
Courtesy of Javier Vallhonrat
6 — ‘LIGHT FANTASTIC’ Suvi Koponen
by Javier Vallhonrat, February 2008
In the Maldives, a sea-blue camisole top with sequined bandeau
and vinyl miniskirt, all by Emporio Armani.
Archival C-type print
Courtesy of Javier Vallhonrat
7 — HELENA BONHAM CARTER
IN GLASS ELEVATOR
by Tim Walker, December 2008
The actress wears a sapphire-blue dance dress by
Alexander McQueen. She had just finished making
Terminator Salvation (2009).
Archival pigment print
Courtesy of Tim Walker
24 — 2010s
2010s — 25
8 — STEPHEN JONES by Tim Walker, December 2013
Wall to the right:
The celebrated milliner in a design of his own creation.
‘I feel like Barbara Cartland on acid’, he commented.
3
Archival pigment print
Courtesy of Tim Walker
9 — ‘ENCORE COUTURE!’ Ben Grimes-Viort
backstage at the Lido in Paris by Corinne Day, October 2003
An ostrich feather and rhinestone headdress for Dior Haute
Couture by John Galliano amid the costumes for the Lido de
Paris Lido’s show C’est Magique!
Archival pigment print
Courtesy of the Estate of Corinne Day and Gimpel Fils, London
4
1
2
5
6
11
7
9
8
10 13
12
1 — ‘RAVE NEW WORLD’ Karmen Pedaru
by Alasdair McLellan, May 2012
With string-knits and tie-dye revitalised for a new era, Vogue
revisited the ‘Summer of Love’ on Lanzarote. T-Shirt by Palace
Skateboards and leather shorts by Paul & Joe.
Archival black and white bromide print
Courtesy of Alasdair McLellan
2 — ‘TRANS-SIBERIAN EXPRESS’ Rie Rasmussen
at Novosibirsk Station by Norbert Schoerner, January 2005
The Vogue team photographed fashion on board the
Trans-Siberian Express. Velvet coat by Louis Vuitton
and pullover by Azzedine Alaïa.
Archival C-type print
Courtesy of Norbert Schoerner
26 — 2010s
2010s — 27
3 — ‘SPORTING GODS’ Luke Campbell
by Peter Lindbergh, June 2012
7 — ‘SHE’S ECLECTIC’ Cara Delevingne
by Glen Luchford, November 2012
The bantamweight boxer and his black eye: ‘I had a flu
jab on Tuesday, it took over my body and on Wednesday
I sparred and got this’. Two months later he won a gold
medal at the London Olympics.
The multiplicity of the season – retro prints, handicraft dresses and
piecemeal separates – in the varied world of the car-boot sale.
Poplin shirt and wool-twill trousers by Stella McCartney.
Hahnemuhle photo rag baryta print
Studio Peter Lindbergh, Paris
4 — ‘COLD COMFORT’ Harleth Kuusik
by Craig McDean, September 2014
Stella McCartney’s asymmetric skirt and sweater
had ‘designs on grunge’ Vogue concluded.
Archival C-type print
Courtesy of Craig McDean
5 — ‘DEAUVILLE RENDEZVOUS’ Marte van Haaster
and Stella Tennant by Mario Testino, September 2012
On the coastal landscape of northern France, the sweep
of the Belle Époque in Op-art silk-suiting and embellished
Gladstone bags by Prada.
Archival C-type print
Courtesy of Mario Testino
6 — ‘TO RUSSIA WITH LOVE’ Natalia Vodianova
by Mario Testino, May 2008
Wearing rabbit ears and sunglasses by Jeremy Scott, Natalia
Vodianova returned to her homeland on a fundraising mission
for her children’s charity.
Archival black and white bromide print
Courtesy of Glen Luchford
8 — ‘NEO-GEISHA’ Guinevere van Seenus
by Paolo Roversi, June 2011
A twenty-first century take on the serene beauty of the traditional
courtesan. A strapless dress with cape from Kaal E Suktae, Korea.
Archival pigment print
Courtesy of Paolo Roversi
9 — CATE BLANCHETT
by Patrick Demarchelier, January 2009
The actress wore a front-ruffle dress by Lanvin with
pom-pom headband by Ryan Stiles for Piers Atkinson.
Archival black and white bromide print
Courtesy of Patrick Demarchelier, Paris
10 — ‘LIFE THROUGH A LENS’ Suvi Koponen
by Glen Luchford, April 2014
A homage to the freewheeling style of Linda McCartney.
Koponen wears a T-shirt and denim skirt from the late
photographer’s collection.
Archival black and white bromide print
Courtesy of Glen Luchford
Archival C-type print
Courtesy of Mario Testino
28 — 2010s
2010s — 29
11 — ‘MADE IN BRITAIN’ Edie Campbell
by Tim Walker, December 2013
The horse-mad model in a mud-spattered copy of her
racing silks by Bella Freud. ‘These are the clothes I am
most comfortable in’, she told Vogue.
Archival pigment print
Courtesy of Tim Walker
12 — ALEX TURNER AT CAMDEN LOCK
by Alasdair McLellan, June 2012
The musical architect of the Arctic Monkeys would shortly play
with his band at the opening ceremony of the Olympic Games.
Archival black and white bromide print
Courtesy of Alasdair McLellan
13 — ‘TALES OF THE UNEXPECTED’ Karen Elson
and crocodile by Tim Walker, December 2008
‘Never smile at a crocodile,’ warned Vogue, ‘unless, of course,
you are wearing Giles’s blood-curdling red silk dress.’
Archival pigment print
Courtesy of Tim Walker
30 — 2010s
2000s
Vogue first established its website in 1996, positioning itself for
the digital future. Twenty years later, internet-based fashion films
have found their place along with the instant sharing of electronic
images; all enhancing the magazine’s traditional content.
Photography’s importance to Vogue shows no sign of
diminishing, nor its dialogue with the key cultural figures
of the time. Many of today’s photographers retain an insider’s
knowledge of Vogue’s history while leaving their own
imprimatur upon it, most significantly Mario Testino and
Tim Walker. ‘What Vogue did made sense to me,’ Walker
has observed, ‘because it dealt with fantasy and the magical.
As I studied its archive I started really to understand photography.’
Others, such as Alasdair McLellan and Glen Luchford, promote
a visual language of gesture and stance that owes more to the
familiarity and experience of real life.
On its very first page, Vogue had promised ‘really and truly,
such amazing things are going to happen to you that you
would never believe them, unless you saw them in Vogue’.
As the magazine moves into its second century, the promise
and the expectation remain undimmed.
2000s — 31
Starting below
the 2000s signage:
1
4 — BORIS JOHNSON AT THE OLYMPIC PARK
by Henry Bourne, April 2012
5
6
3
2
4
7
1 — ‘BRIGHTON ROCK’ Lara Stone
by Alasdair McLellan, November 2010
‘I went to Brighton recently,’ she told Vogue, ‘I love that tiny train
that runs along the seafront.’ Strapless organza dress by Valentino.
Archival black and white bromide print
Courtesy of Alasdair McLellan
2 — ‘SOMEWHERE GIRL’ Andreea Diaconu
at Canvey Island by Glen Luchford, November 2013
‘Tugboats are famed for their simplicity and steeliness’,
said Vogue, ‘Gucci’s cracked patent leather day dress
carries the same bounty’.
Archival black and white bromide print
Courtesy of Glen Luchford
3 — ‘STONE AGE’ Lara Stone in Carlton House Terrace,
London by Mario Testino, December 2009
She is the embodiment of beauty today’, opined Mario Testino of
his model in a crinoline gown by Oscar de la Renta.
Archival C-type print
Courtesy of Mario Testino
32 — 2000s
A rare beast, considered Vogue, ‘a politician known as much for
his ready wit as for his policies’. Behind him
Anish Kapoor’s 115 metre Arcelor Mittal Orbit.
Archival C-type print
Courtesy of Henry Bourne
5 — ‘FASHION PANTOMIME’
Erin O’Connor, Jacquetta Wheeler and Lily Cole
by Tim Walker, December 2004
For Vogue’s Christmas pantomime, Erin O’Connor
wears Givenchy Haute Couture, Jacquetta Wheeler
wears David Fielden and Lily Cole, Rochas.
Archival pigment print
Courtesy of Tim Walker
6 — ‘ISELIN, 2010’ by David Sims, October 2010
Against the rugged Cornish landscape, a sheepskin cape by
Céline.
Archival pigment print
Private Collection
7 — KATE MOSS AND WHITE STALLION
by Nan Goldin, October 2001
Kate Moss styled by Stella McCartney – with fashion
at a minimum.
Archival C-type print
Nan Goldin/Matthew Marks Gallery, New York
2000s — 33
Wall to the right:
1
3 — ‘LILY, 2008’ by Nick Knight, December 2008
In 2003 John Galliano bestrew Diwali powder paints
over his models, the moment recreated here for a survey
of ‘Unbelievable Fashion’.
4
2
7
9
Hand-coated pigment print (printed 2015)
Courtesy of Nick Knight and SHOWstudio
8
10
4 — SOFIA COPPOLA IN LONDON
by Corinne Day, March 2000
5
3
6
Born into a Hollywood royalty, the young director had just
completed The Virgin Suicides. Vest by The Gap and bikini
bottoms by Maria Grachvogel.
1 — HRH THE PRINCE OF WALES AT HIGHGROVE
by Mario Testino, February 2002
Archival C-type print
Estate of Corinne Day and Gimpel Fils, London
The Prince of Wales feeds his Welsummers and Marans in
a wool coat from Pakistan, part of a collection of similar coats
that he often wears in the garden.
5 — ‘CHOCKS AWAY!’ Lily Donaldson and fighter pilot
by Tim Walker, March 2009
Archival C-type print
Courtesy of Mario Testino
A characteristically inventive scenario by the photographer
to illustrate the season’s military-inspired fashion.
Linen bustier dress by Giambattista Valli.
2 — ‘TRAIL BLAZERS’ Daria Werbowy in Peru
by Mario Testino, March 2008
Archival pigment print
Courtesy of Tim Walker
Standing out from the herd in the foothills of the Andes
in tulle skirts and a cotton dress by Nicole Farhi.
Archival C-type print
Courtesy of Mario Testino
6 — ‘BELLE DE JOUR’ Gwyneth Paltrow
by Mario Testino, October 2002
The American actress, in Paris for the couture shows, wears
a silk-satin dress by Lanvin. She had just filmed Possession.
Archival C-type print
Courtesy of Mario Testino
34 — 2000s
2000s — 35
7 — KIERA KNIGHTLEY by Mario Testino, January 2011
At twenty-five, the leading lady of stage and screen was already
a showbusiness veteran, having asked her parents for an agent at
the age of three. Crêpe-de-Chine dress by Sonia Rykiel.
Archival C-type print
Courtesy of Mario Testino
8 — ‘GEMMA, 2004’ by Nick Knight, September 2004
Play to the crowd in bright slinky jerseys, metallic fabrics and
stunning digital prints.’ Vivid fuchsia dress by Jil Sander.
Hand-coated pigment print (printed 2015)
Courtesy of Nick Knight and SHOWstudio
9 — DAME VIVIENNE WESTWOOD
by Tim Walker, October 2009
‘Anyone can just take any blanket, pair of curtains or a lump of
fabric and hurl it around them’, said the thrice-named Designer of
the Year of her ‘do it yourself’ aesthetic.
Archival pigment print
Courtesy of Tim Walker
10 — ALEXANDER McQUEEN
by Tim Walker, October 2009
‘Alexander McQueen’, observed Vogue, ‘is obsessed
with sex, death and religion’ and ‘respects no limits to
what a fashion show can be’.
On wall opposite 2000s signage:
Vogue’s promotion of all that is new in the world of art starts
with its earliest issues. In October 1916 it showcased the wartime
paintings in the quasi-Cubist style of C.R.W. Nevinson, which
made his reputation. Following on, it would introduce readers to
the drawings of Jean Cocteau and Picasso, the stage designs of
Sonia Delaunay, the photograms of Man Ray and it announced
the Bauhaus at the moment of its formation.
In more recent times, Vogue has explored a relationship
with contemporary artists. In 2000, it invited Jake and Dinos
Chapman, Tracey Emin, Gary Hume, Sarah Morris, Marc Quinn
and Sam Taylor-Wood to represent Kate Moss – the ultimate
Vogue icon – in any way they chose. Vogue has occasionally
invited artists to undertake the role of ‘guest fashion editor’,
among them Americans Nan Goldin and Cindy Sherman.
This self-portrait of the artist as a clown is the result of such
a collaboration.
‘WHAT LIES BENEATH’
by Cindy Sherman, June 2003
Sherman’s series of self-portraits-as-clown take on an
unnerving quality despite the cheerful use of the new season’s
designer clothes. Here she wears an embroidered jacket
by John Galliano.
Chromogenic colour print
Collection Glenn and Amanda Fuhrman NY,
Courtesy the FLAG Art Foundation
Archival pigment print
Courtesy of Tim Walker
36 — 2000s
2000s — 37
1990s
Starting below the 1990s signage:
BROKEN GLAMOUR
Vogue’s cover for January 1990, heralding the new decade, was
photographed by Peter Lindbergh. It featured the most dazzling
members of the supermodel movement: Naomi, Cindy, Linda,
Tatjana and Christy were the living embodiment of the billiondollar power of the fashion industry.
Then the outlook changed. In 1993 journalist Marie Colvin
revisited post-Gulf War Baghdad to provide a depth of reportage
unseen in Vogue since 1945. Coverage was given to further
topics of the zeitgeist: homelessness, political correctness,
the environment.
On the fashion pages, the naturalistic photographs of Corinne
Day, Craig McDean, David Sims and Juergen Teller heralded
a new sensibility. Together they had come to prominence in
the style magazines of the early decade, but their aesthetic
was individual and influential.
The renaissance of ‘high glamour’ in response was inevitable.
Nick Knight consolidated his position as an outstanding British
fashion photographer. His peer, Mario Testino, recalled for
Vogue the verve of his predecessors Cecil Beaton and
Norman Parkinson.
One name gained currency throughout the decade. Kate Moss’s
first cover in 1993 was as the typical ‘London Girl’. By the turn
of the decade she was an international phenomenon. The other
figure who dominated this decade, as she had the previous,
was Diana, Princess of Wales; perhaps the most photographed
woman of the twentieth century.
3
1
2
4
8
5
6
7
9
1 — ‘In Bonnard’s Bathroom’
by Sarah Moon, February 1998
On the eve of a Tate retrospective of Bonnard’
evocative work, Sarah Moon paid photographic tribute
Archival colour pigment print
Michael Hoppen Gallery
2 — DIANA, PRINCESS OF WALES
by Patrick Demarchelier, December 1990
The most recognizable woman of her time, much photographed
for Vogue from her early years
Modern bromide print
Courtesy of Patrick Demarchelier, Paris
3 — ‘NADJA, 1994’ by Nick Knight, March 1994
Vogue’s ‘Platinum Blonde Powerhouse’, five-foot-eleven-and-ahalf tall, with legs measuring 45 inches, Nadja Auermann wears
mini-dress by Yohji Yamamoto.
Hand-coated pigment print (printed 2015)
Courtesy of Nick Knight and SHOWstudio
38 — 1990s
1990s — 39
4 — ‘HEAVENLY BODIES’
Naomi Campbell as a Dionysian handmaiden
by Herb Ritts, December 1990
8 — AZZEDINE ALAÏA IN HIS PARIS STUDIO
by Snowdon, October 1990
Campbell wears a draped bikini bottom by Norma Kamali and
crown of wreathed autumn leaves.
‘The man who loves women dresses the female form better’,
observed Vogue, in his atelier with his dog
Patapouf and family.
Archival black and white silver gelatin print
Courtesy of Herb Ritts Foundation, Los Angeles
Modern C-type print from original colour transparency
The Condé Nast Archive, London
5 — ‘SARA, 1997’ by Nick Knight, June 1997
9 — ‘THE SUPERMODELS’
by Peter Lindbergh, January 1990
A bias-cut dress that follows the form by Hussein Chalayan.
Hand-coated pigment print (printed 2015)
Courtesy of Nick Knight and SHOWstudio
6 — WINONA RYDER AT HOME IN LOS ANGELES
by Herb Ritts, May 1991
Left to right: from Britain, Naomi Campbell; from Canada, Linda
Evangelista; from Germany, Tatjana Patitz and from the United
States, Christy Turlington and Cindy Crawford.
Hahnemuhle photo rag baryta print
Studio Peter Lindbergh, Paris
Wearing a ballet tutu by Gamba, the actress dances in the garden
of the home she then shared with Johnny Depp.
Opposite wall, left to right:
Archival black and white silver gelatin print
Courtesy of Herb Ritts Foundation, Los Angeles
‘KATE, 1998’ by Nick Knight, June 1998
7 — ‘GUINEVERE, 1996’ by David Sims, March 1996
As London swung again, Vogue celebrated ‘Cool Britannia’, the
1990s boom in British arts which for
Vogue, meant a special issue marking British creativity.
An understated, strapless black evening dress
by Yohji Yamamoto.
Hand-coated pigment print (printed 2015)
Courtesy of Nick Knight and SHOWstudio
Modern silver gelatin print
Courtesy of David Sims
40 — 1990s
1990s — 41
‘FLOWER GIRL’ Christy Turlington in ‘Rose’ hat
By Patrick Demarchelier, February 1992
Wall to the right- grid of photographs:
Jasper Conran designed the costumes for a revival of
My Fair Lady, inspired in part by Irving Penn’s flower
photographs, which had appeared in Vogue in the 1970s.
‘ANGLO-SAXON ATTITUDE’
by Steven Meisel, December 1993
Modern silver gelatin print
Courtesy of Patrick Demarchelier, Paris’
‘SEND IN THE GOWNS’ Linda Evangelista
by Patrick Demarchelier, October 1991
‘English roses wearing clothes that sum up London’s
individualism and anarchic sense of fashion’.
Vintage bromide prints
Courtesy of Steven Meisel Studio, New York
Top to bottom, left to right:
A rhinestone encrusted silk crepe dress with lilac and
peppermint silk taffeta opera coat, both by Versace.
Bella Freud in Bella Freud
Archival C-type print from original colour transparency
The Condé Nast Archive, London
Honor Fraser in Vivienne Westwood
DAVID AND VICTORIA BECKHAM
by Juergen Teller, March 1999
She was then one fifth of the Spice Girls, the biggest girl
band ever, he probably his country’s best-known football player.
Together, ‘the most joyously conspicuous consumers in
the Western world’.
C-type print from colour negative
Courtesy of Juergen Teller
Stella Tennant in Jennifer Jones and Steven Kinkee
Honor Fraser in Vivienne Westwood
Plum Sykes in Helen Storey
Bella Freud in Bella Freud
Stella Tennant in Lainey Keog
Stella Tennant in Alexander McQueen
and Plum Sykes in Jennifer Jones
Stella Tennant in Owen Gaster and Philip Treacy
Plum Sykes in Vivienne Westwood
Bella Freud in Bella Freud
Plum Sykes in Helen Storey and Vivienne Westwood
42 — 1990s
1990s — 43
Cases, left to right:
HEATH LEDGER by Carter Smith, August 1999
‘YOUNG CINEMA’ Jude Law
by Albert Watson, March 1996
The star of Ten things I Hate About You (1999)
explained to Vogue ‘I’m from Australia, I understand
about taking care of my body.’
‘You can’t help staring at Jude Law. Like some kind of radiant,
emerald-eyed pixie’s, his Puck-meets-punk demeanour is
utterly compelling’.
Vintage bromide print
The Condé Nast Archive, London
Vintage colour C-type print
The Condé Nast Archive, London
‘LONDON GIRL, LONDON STYLE’
Kate Moss by Corinne Day, March 1993
‘LA DAME MASQUÉ’ Nadja Auermann
by Ellen von Unwerth, October 1991
Mask with feather ears by Philip Treacy.
Vintage bromide print
The Condé Nast Archive, London
HUGH GRANT by Julian Broad, June 1994
On the set of Four Weddings and a Funeral, the then highestgrossing British film launched the career of its floppy-haired
leading man of impeccable comic timing
The first Vogue cover with Kate Moss. Fashion: Chanel
Vintage colour C-type print
The Condé Nast Archive, London
‘UNDER-EXPOSURE’ Kate Moss
by Corinne Day, June 1993
‘She was just this cocky kid from Croydon’, recalled Day,
adding, ‘she wasn’t like a model, but I knew she was going
to be famous’.
Vintage bromide print
The Condé Nast Archive, London
Fashion, left to right:
Janet Reger and Liza Bruce
Liza Bruce and Hennes
La Perla
Hanro
‘COUTURE’S BACKBONE’ Carmen Hawk
by Craig McDean, October 1996
Vintage colour C-type prints
The Condé Nast Archive, London
A backless construction in satin by Christian Lacroix
Vintage bromide print
The Condé Nast Archive, London
44 — 1990s
1990s — 45
1980s
SPEED OF LIFE
Margaret Thatcher’s premiership defined the decade, standing for
individualism, self-advancement and achievement. The downside:
a displaced underclass and a rise in urban poverty. The number of
millionaires living in the UK doubled while unemployment climbed
to Depression-era levels of the 1930s.
Long-term Vogue photographer Norman Parkinson confided
his hopes for the decade: ‘it’s been so depressing. People want
style, they need romance; they need beautiful women in beautiful
and provocative surroundings.’ His hopes were mostly fulfilled,
as this decade was synonymous with image-consciousness.
Vogue devoted pages of spectacular photography to aspirational
lifestyle images from Patrick Demarchelier, Herb Ritts and Albert
Watson. Bruce Weber brought a new naturalism set against the
American landscape. Appointed to modernise Chanel in 1983,
Karl Lagerfeld revisited its glorious past. A new wave of Japanese
designers advocated a ‘post-apocalyptic chic’. Azzedine Alaïa
replicated in every provocative detail the line of the female form,
while Christian Lacroix plundered costume history for his exotic
couture. And the word ‘designer’ was pervasive, applied to jeans,
underwear, mineral water, chocolates, restaurant, food, hair,
furniture and earrings.
From left to right around the room,
starting below the 1980s signage:
1 — ‘THE ROMANCE OF LACROIX’
by Patrick Demarchelier, October 1987
In its inaugural year, observed Vogue, the house of Lacroix’s
‘irreverent spirit spurred everyone on to new heights of lively,
short and seductive’.
Archival C-type print from original colour transparency
The Condé Nast Archive, London
2 — ‘THE QUALITY OF LITHE’ Bonnie Berman
by Patrick Demarchelier, May 1983
‘We pursued a sort of acrobatic, healthy look’, recalled
the photographer of his shoot in Barbados, ‘we made
our own props, rope and tape stored on the boat to construct the
swing’.
Archival C-type print from original colour transparency
The Condé Nast Archive, London
3 — ‘A LA RECHERCHE DU TEMPS BARDOT’
Claudia Schiffer in Paris by Herb Ritts, October 1989
Schiffer wears beaded Lacroix. What could be more Parisian,
mused Vogue, than ‘a dream of a blonde, a boy on a motorcycle
and a couture wardrobe fit for a star?’
Archival C-type print from original colour transparency
The Condé Nast Archive, London
46 — 1980s
1980s — 47
4 — ‘SUPERHEROINE’ Cindy Crawford
by Peter Lindbergh, February 1989
7 — ‘CALLAS-THENICS’ Tatjana Patitz
by Herb Ritts, July 1988
Futuristic motifs and industrial marked out Lindbergh’s
early photographs had dramatic force. ‘My heavy German
Expressionist side’, he said, here seen in a homage to Fritz Lang
at Pinewood Studios. Cutaway swimsuit by Emilio Cavallini
‘The mood is sultry,’ observed Vogue, ‘the diva dressed
in uncompromising fashion’ in sheath dress with strapless
bra bodice by Azzedine Alaïa.
Hahnemuhle photo rag baryta print
Courtesy Studio Peter Lindbergh, Paris
5 — BETH CHATTO’S GARDENING BOOTS, ESSEX
by Tessa Traeger, December 1984
The celebrated plantswoman’s boots and collecting basket
amid the funnel shaped blooms of Colchicum ‘Rosy Dawn’.
Modern C-type print from original colour transparency
Courtesy of Tessa Traeger
6 — ‘THE NEW RAVE’ Talisa Soto
by Albert Watson, August 1984
Model (later actress) Talisa Soto wears Bodymap’s starfish
print and striped loose cotton lycra top and skirt with ‘fin’ panel
and matching square hat.
Archival pigment print from original transparency
Courtesy of Albert Watson
48 — 1980s
Bromide print (printed later)
Courtesy of Herb Ritts Foundation, Los Angeles
8 (End wall ) — ‘COQUE FEATHERS’ Christy Turlington
by Patrick Demarchelier, December 1987
This arrangement of bristling quills on a silk band, part of suit
designed by Antony Price, was perfect, Vogue surmised, for any
‘coqtail party’. Archival C-type print
from original colour transparency
The Condé Nast Archive, London
9 — ‘FILMING AFTER A FASHION’
by Bruce Weber, July 1983
On the back lot at Culver Studios, Los Angeles, with a hired help
of costumed heroes, the model wears sequinned gauze over a
white t-shirt and skirt by Zoran.
Archival C-type print from original colour transparency
The Condé Nast Archive, London
1980s — 49
10 — MARGARET THATCHER
IN 10 DOWNING STREET
by David Bailey, October 1985
13 — ‘GILT-LADEN’ Naomi Campbell
by Patrick Demarchelier, December 1987
After the General Election of 1987, Mrs Thatcher became
the first Prime Minister since the nineteenth century to serve
three consecutive terms.
The image for Naomi Campbell’s debut cover shows her wearing
a shimmering dress by Chanel. There would be many more in
her journey from bright-as-a-button south London teenager to
supermodel.
Archival C-type print from original colour transparency
The Condé Nast Publications Ltd, London
Archival C-type print from original colour transparency
The Condé Nast Archive, London
11 — JOHN GALLIANO
by Peter Lindbergh, February 1988
Three years out of college, Galliano had just been crowned
British Designer of the Year for the first time, an accolade he
would win on three further occasions.
Hahnemuhle photo rag baryta print
Courtesy Studio Peter Lindbergh, Paris
14 — ‘IN AN ENGLISH GARDEN’ Victoria Lockwood
by Bruce Weber, December 1984 (unpublished version)
‘A style that could grow on you’, ventured Vogue of model
Lockwood in a sheath dress by Victor Edelstein.
Archival C-type print from original colour transparency
The Condé Nast Archive, London
12 — UMA THURMAN IN THE
FRIEDMAN GALLERY, NEW YORK
by Sheila Metzner, December 1985
Two years before her movie debut, Thurman was a 15-year-old
model, a favourite of Sheila Metzner, here in a dress by Emanuel.
Archival C-type print from original colour transparency
The Condé Nast Archive, London
50 — 1980s
1980s — 51
Cases, left to right:
RUPERT EVERETT by Snowdon
April 1983 (unpublished version)
The actor who had received critical acclaim for his role in
the stage play Another Country was about to play Lancelot
in Clive Donner’s Arthur the King.
Vintage bromide print
Courtesy of Snowdon
SALMAN RUSHDIE AT HOME IN LONDON
by Snowdon, December 1982
Rushdie was a little known novelist before Midnight’s Children
won the Booker Prize for 1981.
Vintage bromide print
The Condé Nast Archive, London
‘UNDER WESTON EYES’
by Bruce Weber, December 1982
This homage to the American photographer Edward Weston’s
way of seeing and way of life, starring Talisa Soto among others,
was shot in and around Weber’s home in Long Island
Vintage bromide prints
The Condé Nast Archive, London
‘NEW LUMINARIES’ and ‘NEW HATTINESS’
by Paolo Roversi
Roversi’s lighting and Vogue’s styling gave his large-format
Polaroid prints an almost painterly quality.
All 10 x 8 Polaroid prints
The Condé Nast Archive, London
Fashion, left to right:
MATT DILLON IN HOLLYWOOD
by Bruce Weber, June 1983
As a leading teen idol, Dillon specialised in troubled characters
with unstable emotions and high levels of disaffection.
Vintage bromide print
The Condé Nast Archive, London
‘THE RISE OF THE PARIS COUTURE’
Christy Turlington in La Coupole, Paris
by Arthur Elgort, April 1988
‘NEW LUMINARIES’ April 1986
Thierry Mugler and Bermans & Nathans
Thierry Mugler; Jean Paul Gaultier.
‘NEW HATTINESS’ November 1985
Kirstin Woodward for Karl Lagerfeld.
An out-take from the sitting, the milliner remains unidentified.
Tatters and The Hat Shop.
Stephen Sprouse and Maria Killery.
Turlington wears a signature Chanel tweed suit and lace
‘meringue’ hat designed by Karl Lagerfeld for Chanel.
Vintage bromide print
The Condé Nast Archive, London
52 — 1980s
1980s — 53
BRUCE CHATWIN IN BELGRAVIA
by Snowdon, October 1982
Chatwin’s jacket and walking boots point to his renown
as a travel writer. He was also an acclaimed novelist,
art expert and connoisseur.
Vintage bromide print
The Condé Nast Archive, London
STEVE CRAM by Paolo Roversi, December 1985
In the summer of 1985, the ‘Jarrow Arrow’ had set three
new world records in 20 days, becoming the fastest man
over 1500m, the mile and 2000m.
10 x 8 Polaroid print
The Condé Nast Archive, London
1970s
PRESSURE DROP
What had been a golden age of post-war prosperity stalled
when the economy was hit by crippling inflation. Industrial unrest
led to a three-day week and, with the newly introduced decimal
currency, panic buying.
Vogue commissioned novelist J.G. Ballard to provide a glimpse
of the future: ‘where people will never meet at all, except on the
TV screen.’ The hold over the nation that television had acquired
was unprecedented. At Christmas 1977, The Morecambe and
Wise Show attracted nearly 28 million viewers.
Vogue’s fashion pictures reflected these disjointed times
of sanitised entertainment and dystopia. The photographs
of Guy Bourdin were confrontational, Helmut Newton’s
glacially cool. More British and off-kilter were those of Steve
Hiett and Barry Lategan, set against a suburbia that Ballard
might have recognised.
Fashion plundered history. A Victorian phase yielded to
Pre-Raphaelite smocks, then an Art Deco revival of crêpe
de Chine. Vogue looked for meaning in the punk explosion,
its slogans hand-drawn on T-shirts and spray-painted onto
inner-city walls.
In 1975 Vogue met the new Conservative Leader of the
Opposition: ‘Mrs Thatcher crinkles her eyes when she
addresses you with a determined desire to please, but there
is a chilliness at the core of her charm.’
54 — 1980s
1970s — 55
On the walls, left to right,
starting right of the 1970s signage:
1
3 — ‘IS BAD TASTE A BAD THING?’ Gayla Mitchell
by Peter Knapp, June 1971
An answer attempted in hot-pants in Hyde Park
by Electric Fitting.
2
Modern C-type print from original colour transparency
The Condé Nast Archive, London
CASE
3
4
5
1 — ‘IN SUBURBIA’ Louise Despointes
by Steve Hiett, November 1976
In the hottest summer of the century, a turquoise mohair skirt and
mohair and wool waistcoat by Juliet Dunn.
Modern C-type print from original colour transparency
The Condé Nast Archive, London
2 — ‘WHAT’S IN A DIAMOND?’
by Guy Bourdin, October 1976
Rose chiffon and lace camiknickers by Janet Reger.
Diamonds by Swarovski.
4 — ‘LIMELIGHT NIGHTS’ Karin Feddersen, Uve Barden,
Barbara Carrera and Grace Coddington
by Helmut Newton, October 1973
In St Tropez, styled by fashion editor Grace Coddington, who
found herself floating in the swimming pool. Fashion by Nettie
Vogues and Christian Dior.
Modern C-type print from original colour transparency
The Condé Nast Archive, London
5 — ‘SPACE BETWEEN SEA AND SUN’
Apollonia van Ravenstein by Norman Parkinson, July 1973
In Oliver Messel’s house, Barbados, a white crêpe de chine shirt
and skirt by Yves Saint Laurent.
Modern C-type print from original colour transparency
Norman Parkinson Ltd /
Courtesy Norman Parkinson Archive
Modern C-type print from original colour transparency
The Condé Nast Archive, London
56 — 1970s
1970s — 57
Case, left to right:
MORECAMBE AND WISE by David Bailey, July 1970
‘A SONG OF SPRING’ Suzanne Moncur
by Sarah Moon, April 1972
At their peak, Eric Morecambe (right) and Ernie Wise (left)
were Britain’s most famous comic entertainers. Their 1977
‘Christmas Special’ attracted 27.5 million viewers.
On the Paris streets, Vogue’s Pierette wears a blouse
and pantaloons by Sheridan Barnett.
Vintage bromide print
The Condé Nast Archive, London
Vintage bromide print
The Condé Nast Archive, London
‘NIGHTS OF PARIS’ by Helmut Newton, January 1974
Echoing the Paris of Brassaï, the Hotel Crillon forms
a setting for print dresses in two layers with V-shaped
backs by Yves Saint Laurent.
Vintage bromide print
The Condé Nast Archive, London
‘THE FIRST DAYS OF SUMMER’ Louise Despointes
and Donna Jordan in Paris by Sacha, April 1972
Dresses by Chloé and Mary Quant. Jordan was
muse to Antonio Lopez, then fashion illustrator du jour.
Vintage bromide print
The Condé Nast Archive, London
KARIN FEDDERSEN AT THE HOTEL BYBLOS,
SAINT-TROPEZ by Helmut Newton, October 1973
‘DOUBLE TAKE’ Penelope Tree at Reddish House, Wiltshire
by Cecil Beaton, December 1970
Organza wrap and satin trousers
by Saint Laurent Rive Gauche.
The then girlfriend of David Bailey in an Ossie Clark black
panne velvet suit in the ‘winter garden’ of Beaton’s home.
Vintage bromide print
The Condé Nast Archive, London
Vintage bromide print
The Condé Nast Archive, London
PETER SELLERS by Snowdon, April 1973
In The Optimists of Nine Elms, Sellers busked around London
unrecognised but for a woman who said, ‘It’s Peter Sellers.
You can tell by the nose.’ The nose was, in fact, false.
‘YSL? WHY, YES!’ Cathy Quirk and Carrie Nygren
by Guy Bourdin, September 1975
Black rubberised, kimono-shaped raincoats
by Yves Saint Laurent.
Vintage bromide print
The Condé Nast Archive, London
Vintage bromide print
The Condé Nast Archive, London
58 — 1970s
1970s — 59
‘NEW COVER STORY’ by Barry Lategan, September 1970
Against an equally austere inner urban backdrop,
a sharply cut black gabardine coat by Tiziani.
Vintage bromide print
The Condé Nast Archive, London
‘BETWEEN YOU AND THE ELEMENTS’
Apollonia van Ravenstein by Arthur Elgort, October 1971
Vogue offered a fly-fronted quilted jacket with
trench yoke and big collar by Saint Laurent.
Vintage bromide print
The Condé Nast Archive, London
MARTIN AMIS by Snowdon, August 1978
‘Will Success spoil Martin Amis?’ asked Vogue. ‘He is now twentyeight. At last, perhaps, his age is no longer the most extraordinary
thing about him’. Success was Amis’s third novel.
Vintage bromide print
The Condé Nast Archive, London
GERMAINE GREER IN PORTOBELLO ROAD
by Snowdon, May 1971 (unpublished version)
An influential work of the feminist movement, Greer’s
The Female Eunuch was published in 1971.
Modern bromide print
Courtesy of Snowdon
DAVID BOWIE by Snowdon
September 1978 (unpublished version)
The singer and musician had completed his ‘Berlin’
trilogy of albums and was emerging from his
‘Thin White Duke’ phase.
SIR JOHN BETJEMAN by Snowdon, April 1974
Like Alfred Tennyson before him, the Poet Laureate was an
unavowed populist. In the early 1970s he recorded albums
of his verse set to music.
Vintage bromide print
The Condé Nast Archive, London
‘PUNK: DANGER, STRANGER’
Jordan [Pamela Rooke], Siouxsie and the Banshees
and the cast of Jubilee by Derek Jarman, Johnny Rosza
and Luciana Martinez, December 1977
Vogue’s take on punk was anthropological: ‘The year hair
stood on end with fluorescent dyes, the year of war paint.
We add to the excess by looking at the origins of ferocious
adornment and provocative non-vocal communication.’
Collage of photographs and Polaroid prints
The Condé Nast Archive, London
Vintage bromide print
The Condé Nast Archive, London
60 — 1970s
1970s — 61
1960s
Interpretation reads from left to right, starting
on the wall to the left of the 1960s signage:
PULSE BEAT
‘EVENING LOOKS AND ALL THAT JAZZ’
Judy Dent by Brian Duffy, October 1961
Before London began to swing, the 1960s were overcast.
While the age of jet travel propelled Vogue fashion teams to
new locations, home-grown fashion pictures were arranged
against the phosphorescent-lit streets of new towns or bleak
and rainswept moorland.
Blouse by Hardy Amies for Maxton and evening pants by John
Cavanagh. Background music supplied by ‘Highlife’ quintet the
Koola Lobitos (the ‘Cool Cats’) led by Fela Kuti.
The descent of the Iron Curtain, and the building of the Berlin
Wall, made the Cold War nuclear threat seem plausible.
Advances in technology were commended by Vogue but
with mistrust. In William Klein’s photographs, the Jodrell Bank
Observatory looked hulking and sinister. The new fashion
photography, which Klein epitomised, was hand-held and
confrontational, its roots in the documentary photography
of the streets.
When the magazine did embrace the exhilaration of the classless,
meritocratic decade it was revelatory. In his twenties, David Bailey,
seemed to hijack every issue of Vogue with a new cast. But it
was his relationship with model Jean Shrimpton, lived out
through Vogue’s pages, that set him apart from his peers.
Modern C-type print from original colour transparency
The Condé Nast Archive, London
‘FOCUS ON THE FACE’ Jean Shrimpton
by Saul Leiter, August 1966
An oblique and reflective beauty shot
for Max Factor make-up.
Archival C-type print from original colour transparency
The Condé Nast Archive, London
Large canvas print:
DAVID HOCKNEY, PETER SCHLESINGER
and MAUDIE JAMES by Cecil Beaton, December 1968
Hockney is seen working on the double portrait, Christopher
Isherwood and Don Bachardy (1968).
Maudie James wears sequin dress over chiffon culottes
by Leslie Poole.
The Condé Nast Archive, London
62 — 1960s
1960s — 63
Wall to the right right of 1960s signagegrid of photographs:
‘TOP COATS’ Jean Shrimpton and Grace Coddington
by David Bailey, September 1966
Vintage bromide prints
The Condé Nast Archive, London
Wall to the right right of 1960s signagegrid of photographs:
1
3
Grace Coddington in Fortnum & Mason
and Sophie Mirman
Jean Shrimpton in Liza Spain and Otto Lucas
Grace Coddington in Jean Patou
Grace Coddington in Wallis
Jean Shrimpton in Julian Robinson and Otto Lucas
Grace Coddington in Bagatel and Sophie Mirman
Jean Shrimpton in Sylvia Mills and Graham Smith
Grace Coddington in Tony Armstrong and Otto Lucas
Jean Shrimpton in Wallis
Grace Coddington in Neatawear and Sophie Mirman
Jean Shrimpton in Harvey Gould
Jean Shrimpton in Peter Robinson and Herbert Johnson
Grace Coddington in Harvey Gould and Kangol
Jean Shrimpton in Hartnell
5
4
8
9
Top to bottom, left to right:
Grace Coddington in Bob Schulz and Otto Lucas
2
13
14
6
10
11
15
16
7
12
17
1 — TERENCE STAMP IN FAR FROM
THE MADDING CROWD
by Terence Donovan, July 1966
The actor was photographed on location for Far From the
Madding Crowd (1967) and associated, observed Vogue,
‘with masses of “in” type publicity that had been started
and hadn’t stopped since Time pulled the plug out on the
Swinging London Scene’.
Vintage bromide print
The Condé Nast Archive, London
2 — ‘SPACE-AGE SETTING’ Maggi Eckardt at Jodrell Bank
by William Klein, July 1960
At Jodrell Bank in the Cheshire landscape, ‘there’s an atmosphere
of isolation. At set moments through the day the warning squawk
of tracking hour breaks the silence.’ Leather coat by Deliss with
hat by Reed Crawford
Vintage bromide print
The Condé Nast Archive, London
64 — 1960s
1960s — 65
3 — DONYALE LUNA ON THE SET OF QUI ÊTESVOUS POLLY MAGGOO? by William Klein, October 1966
7 — ‘PATTERNS IN THE PARK’ MOUCHE
by Barry Lategan, September 1969
Taken on the set of Klein’s film of the same name, a parody of the
fashion world.
A gentle intrusion into daily life in Regent’s Park.
Wool shirtdress by Sally Grant for Emcar with boots
by Sacha.
Modern bromide print
The Condé Nast Archive, London
4 — ‘ZEST: THE FASHION WORD FROM AUSTRIA’
Tamara Nyman by Ronald Traeger, October 1963
Tamara Nyman would became attached to Middle Europe,
marrying Prince Albrecht of Liechtenstein. Alpine sweater by
Lana Peruz, trousers by Resi Hammerer and hat by Dolores.
Vintage bromide print
Courtesy of Tessa Traeger,
Keeper of the Ronald Traeger Archive
5 — ‘NIGHT TIME, NEW TEMPO’ Nicole de Lamargé
and Agnetta Darren by Ronald Traeger, November 1965
Vintage bromide print
The Condé Nast Archive, London
8 — ‘CLOTHES FOR COUNTRY LIVING’ Ros Watkins
by Frank Horvat, October 1960
On the streets of Bradford, the centre of the wool trade,
a black and white tweed coat and dress by Sumrie.
Vintage bromide print
The Condé Nast Archive, London
9 — ‘HIGH VOLTAGE’ Katherine Pastrie
by Helmut Newton, November 1966
Geometric mini-dresses on the London streets by John Bates.
Shocking red kidskin with racoon ruffles over
a mini-dress edged in wool by Bonnie Cashin.
Vintage bromide print
The Condé Nast Archive London
Vintage bromide print
The Condé Nast Archive, London
6 — ‘OCEAN GOING SETTING’ Maggi Eckardt
by Don Honeyman, July 1960
10 — MARISA BERENSON OUTSIDE
VOGUE’S OFFICES by David Bailey, August 1968
The RMS Windsor Castle was briefly the largest liner
built in Britain. Satin evening dress with three-tiered skirt
by Susan Small.
In Hanover Square, in cavalry twill and chinchilla coat
by Ginala with beret by Otto Lucas. Berenson, a favourite
of Vogue’s photographers, was the granddaughter of
Elsa Schiaparelli.
Vintage bromide print
The Condé Nast Archive, London
66 — 1960s
Vintage bromide print
The Condé Nast Archive, London
1960s — 67
11 — ‘FLYING IN NEW FORMATION’ Willy van Rooy
by Helmut Newton, December 1967
14 — ‘DRESSING SOFT’ Donna Mitchell
by Bob Richardson, September 1966
A Hitchcock-ian pastiche to illustrate the season’s new furs.
Mongolian lamb and black kid windcheater by Young Jaeger.
Angora dress by Chic of Hampstead and cloche hat by Herbert
Johnson. Mitchell and Richardson made a memorable team.
‘They said she looked drugged and beaten,’ recalled Richardson.
‘I thought she looked like a fallen angel’.
Vintage bromide print
The Condé Nast Archive, London
12 — MARY QUANT AND ALEXANDER
PLUNKET GREENE by Terence Donovan, July 1962
Popularly, though probably inaccurately, the originator of the
mini-skirt, Quant had started off well before the ‘Swinging Sixties’.
Tweed dress designed by Mary Quant for Bazaar and Plunket
Greene’s suit by Antony Corbett.
Vintage bromide print
The Condé Nast Archive, London
15 — ‘PEOPLE WHO ARE JUST PEOPLE’
by Peter Laurie, December 1961
In the year the Berlin Wall was erected, the symbol
of disarmament chalked onto a jacket.
Vintage bromide print
The Condé Nast Archive, London
Vintage bromide print
The Condé Nast Archive, London
13 — ‘YOUNG IDEA WITH A MAXIMUM OF MINIS’
Jean Shrimpton by Don Honeyman, February 1962
16 — ‘CRAWLEY NEW TOWN’
by Terence Donovan, November 1962
‘British to the back wheels’, reported Vogue, ‘Minis are all
over the country, bowling through traffic blocks, in and out
of parking spaces…’ Chocolate brown suède two-piece
by Swedish Fashions.
An early ‘advertorial’ for Hoover taken in Crawley, one of
the first wave of new towns created to alleviate London’s
housing and employment problems.
Vintage bromide print
The Condé Nast Archive, London
Modern C-type print from original colour transparency
The Terence Donovan Archive, London
17 — THE BEATLES by Peter Laurie, 1964 (unpublished)
‘These singers, young, male, alive and lovable, live in
a mobile prison of adulation’ considered Vogue.
Vintage bromide print
The Condé Nast Archive, London
68 — 1960s
1960s — 69
TIMELINE &
1950s
Please see provided pickup
interpretation for all information.
1940s
THE ART OF PEACE
Vogue was considered to be vital to the morale of the home front.
At Britain’s darkest hour, the quality of its war coverage, both at
home and abroad, set it apart. The photographer Cecil Beaton
travelled the world for the Ministry of Information, but it was
Lee Miller, an American former Vogue model and pupil of
Man Ray, who gave the magazine a dimension unimaginable
at the outbreak of the conflict. She became its very own war
correspondent in words and pictures honed by an artist’s eye.
From top to bottom, left to right all the way around the
room- starting to the right of the 1940s signage:
‘RAISING THE VEGETABLES’
by Lee Miller, January 1943
Two market gardeners in ‘austerity trousers’. The corduroys are
from Harrods, the tweeds from Lillywhites. Both cost 8 coupons.
Vintage bromide print
The Condé Nast Archive, London
WALTER AND THÉRÈSE SICKERT AT HOME
IN BATH by Cecil Beaton, April 1941
In his twilight years, the great painter was living, according
to Beaton, ‘almost entirely in the past of youth, with only a
few flashes of the war of today’.
Vintage bromide print
The Condé Nast Archive, London
70 — Timeline & 1950s
1940s — 71
‘ENEMY SKELETONS’
by Cecil Beaton, November 1942
German tanks at Sidi Rezegh, Libya. During the course of a
month Sidi Rezegh, south of Tobruk, changed hands five times.
Vintage bromide print
National Portrait Gallery, London
‘FASHION IS INDESTRUCTIBLE’
by Cecil Beaton, September 1941
A suit by Digby Morton in the ruins of Middle Temple.
Modern bromide print from original negative
Victoria and Albert Museum, London
HOME DEFENCE IN HAMPSTEAD
by Lee Miller, 1941 (unpublished)
A fire mask and eye shield worn for protection against
incendiary bombs.
IN THE AIRCRAFT RECOGNITION ROOM
by Cecil Beaton, July 1941
The walls are decorated with every type of warplane, friendly
and hostile, ‘bright and swooping as dragonflies’
Modern bromide print
Imperial War Museums
‘WINGED SQUADRONS’ by Cecil Beaton, July 1941
‘For what bomber can enjoy finding himself, in an arctic
temperature, flying through the enemy’s searchlight belt while
every piece of metal melted down from all the statues and
railings is hurled up at him?’.
Vintage bromide print
The Condé Nast Archive, London
‘ROCOCO RUBBLE’
by the U.S. Army Signal Corps, September 1945
A defiant last stand at the University of the Philippines.
Modern bromide print from original negative
The Lee Miller Archives
Vintage bromide print
The Condé Nast Archive, London
THE BERGHOF ON FIRE by Lee Miller, July 1945
‘WAR IN THE EAST’ CHINESE COMMANDOS
by Cecil Beaton, September 1945
At Berchtesgaden, Hitler’s ‘Eagle’s Nest’ redoubt, was set ablaze
by retreating SS troops.
Vintage bromide print
The Lee Miller Archives
In the remoter reaches of Free China, Beaton wrote ‘Although the
average age of the troops is said to be
twenty, most appeared to be boys’.
Vintage bromide print
The Condé Nast Archive, London
72 — 1940s
1940s — 73
THE DAUGHTER OF THE
BÜRGERMEISTER OF LEIPZIG
by Lee Miller
September 1945
The young woman, Regina Lisso, in the German
Red Cross armband suicided as the Allies closed in.
Lee Miller noticed her ‘exceptionally pretty teeth’.
Modern bromide print from original negative
The Lee Miller Archives
Wall to the right:
CHRISTIAN DIOR by Clifford Coffin, April 1947
At his first collection. ‘I was conscious of an electric tension,’
recalled fashion editor Bettina Ballard, ‘People who were not yet
seated waved their cards in a frenzy of fear that someone might
cheat them of their rights.’
To the right, either side of entrance:
‘BRIGHT FASHION FOR DARK DAYS’
by ‘Eric’ (Carl Erickson), June 1944
Floral hats by Reine, Walter Florell and Capri
make two halves of a double page spread.
Watercolour and ink on paper
The Condé Nast Archive, New York
Wall to the right:
With the end of war in 1945, Vogue readjusted to the new mood.
Victory heralded a slow domestic recovery. Vogue celebrated
fashion’s ‘New Look’, an extravagant response to the restrictions
of wartime. From a front row seat at the 1947 collections, the
magazine declared, ‘Christian Dior is the new name in Paris.
His house was newly decorated, his ideas were fresh and put
over with great authority, his clothes were beautifully made,
essentially Parisian, deeply feminine…’
Vintage bromide print
The Condé Nast Archive, New York
‘RICH COLOUR TRENDS’ Barbara Goalen
by Cecil Beaton, October 1948
‘THE NEW LOOK’ by Clifford Coffin, April 1948
In the Vogue Studio the celebrated British model wears a dress
by Matilda Etches.
A hound’s-tooth wool dress with an ‘envol’ back from
an early Dior collection.
Modern C-type print from original colour transparency
The Condé Nast Archive, London
Vintage bromide print
The Condé Nast Archive, London
ALFRED HITCHCOCK
by Irving Penn, October 1948
The British film director visited Irving Penn’s New York studio
during production of Under Capricorn (1949).
Vintage bromide Print
The National Portrait Gallery, London
74 — 1940s
1940s — 75
JANE BOWLES AND
TRUMAN CAPOTE IN MOROCCO
by Cecil Beaton, 1949 (published 1950)
The younger of two American writers, one expatriate
and one visiting, shows off for the camera, mimicked by
a young boy to his left.
Vintage bromide print
The Condé Nast Archive, London
LUCIAN FREUD AND PET SPARROWHAWK
by Clifford Coffin, December 1948
Having traded a painting for a German Luger pistol,
the painter shot rats for his birds on the canal near
Regent’s Park.
Vintage bromide print
The Condé Nast Archive, London
GORE VIDAL ON THE LEFT BANK, PARIS
by Clifford Coffin, 1949 (published later)
The young American writer had just published
his first book The City and the Pillar.
Vintage bromide print
The Condé Nast Archive, London
CHRISTOPHER ISHERWOOD AT HOME IN SANTA
MONICA by George Platt Lynes, April 1947
‘Now and then he jumps from his chair,’ wrote Lynes of the
expatriate writer, ‘stares out of his window at the Santa Monica
beach, then sits down again, folding his legs under him like a yogi.’
HENRI MATISSE AT THE VILLA RÊVE, VENCE
by Clifford Coffin, June 1949
In his eightieth year the great French artist was at work on designs
for Sainte Marie du Rosaire, a small chapel at Vence.
Modern C-type print from original colour transparency
The Condé Nast Archive, New York
‘THE SECOND AGE OF BEAUTY IS GLAMOUR’
by Cecil Beaton, February 1946
Dress of checked wool and bodice with red leather buttons
and with hat of red felt, all by Hartnell.
Modern C-type print from original colour transparency
The Condé Nast Archive, London
PRINCESS CYRIL TROUBETSKOY
by Clifford Coffin, December 1946
Married to an impoverished Russian aristocrat in exile,
the princess models the latest winter overcoat from Balmain
on the banks of the Seine.
Vintage bromide print
The Condé Nast Archive, London
‘A CONVERSATION PIECE’
by Clifford Coffin, September 1948
Romantic evening dresses from the London collections,
from among others, Rahvis, Steibel and Hartnell.
Modern bromide print from original negative
The Condé Nast Archive, London
Vintage bromide print
The Condé Nast Archive, London
76 — 1940s
1940s — 77
1930s
GLORIOUS TWILIGHT
In the years following the Wall Street Crash of 1929 expensive
entertainments faltered and Vogue advised: ‘If you have not
lost money, then pretend you have’. Although Vogue covered
the stage, Hollywood was unavoidable: ‘inhabited by gods
and goddesses of beauty and very much like what one was
told Heaven was like as a child’.
King Edward VIII and Mrs Simpson, later the brittle and elegant
Duke and Duchess of Windsor, exercised a similar fascination
as the Abdication crisis loomed. Cecil Beaton was close to
the Windsors, while also image-maker to the royal family,
reinvigorating the public’s perception of the monarchy.
George Hoyningen-Huene and his protégé Horst, both skilled
in lighting, sought to portray clothes as they might be worn by
bringing everyday life into the studio. Contrasting with these sunlit
arrangements, Vogue’s photographers readily embraced fashion’s
plundering of Surrealism.
Society commentator Johnny McMullin returned from a visit
to Berlin: ‘Why all this fuss about Hitler? No-one could be
more commonplace. I am told he represents an idea, but I
can’t find out what.’ By 1939, as war in Europe unfolded, he
and his magazine knew...
Starting on the left:
CASE
5
4
3
2
1
6
7
1 — MR & MRS HARRISON WILLIAMS
IN PALM BEACH by Cecil Beaton, February 1937
Harrison Williams was then possibly America’s richest man;
his wife, Mona, a lifelong fixture of the ‘Best Dressed’ lists.
Watercolour and gouache on blue paper
Courtesy of the Mona Bismarck American Center, Paris, France
2 — LADY ELIZABETH PAGET AS ‘THE LADY
OF SHALOTT’ by Cecil Beaton, July 1936
Tennyson’s verse of 1832 is echoed by Paget’s jewelled hair
decorations, medieval in style, and a mist-blue organdie dress
by Eva Lutyens.
Modern bromide print from original negative
The Condé Nast Archive, London
78 — 1930s
1930s — 79
3 — MRS WALLIS SIMPSON AT HOME,
REGENT’S PARK, LONDON
by Cecil Beaton, 1936 (published later)
‘She has the capacity to make afternoons amusing,’
said Beaton. ‘She reminds me of the neatest, newest
luggage and is as compact as a Vuitton travelling-case’.
Gouache on salmon pink paper
Private Collection
4 — MARLENE DIETRICH IN LONDON
by Cecil Beaton, October 1936
Beaton included the actress in his highly subjective –
and brave – list, ‘The Six Most Beautiful Women in
Motion Pictures’.
Case, left to right:
‘VARIETY IN SILHOUETTE’ Toto Koopman
by George Hoyningen-Huene, October 1934
Vogue’s ‘dark star’ of the 1930s, in a crêpe sheath dress with
train by Augustabernard, had been a showroom model for
Chanel and later a heroine of the Resistance.
Vintage bromide print
The National Gallery of Canada, Ottawa.
Gift of Rodney and Cozette de Charmoy Grey, Geneva, 1979
JOAN CRAWFORD
by Edward Steichen, December 1932
Modern bromide print from original negative
The Condé Nast Archive, London
Velvet evening dress by Schiaparelli. ‘Joan Crawford and
Schiaparelli’s clothes are each sufficiently exciting alone’,
considered Vogue, ‘but when combined the result is
dramatic in the extreme.’
5 — ‘MODERN TORSO’,
by Arnold Genthe, August 1938 (taken c.1910)
Vintage bromide print
The Condé Nast Archive, New York
This nude study conformed to Hellenic ideals of physical beauty
that Vogue photographers Hoyningen-Huene and Horst,
among others, much admired.
‘FORESHADOWING FRINGE’ Louise Sheldon
by Cecil Beaton, December 1935
Vintage bromide print
Courtesy of Andrew Cowan
A sense of foreboding hangs over Vogue’s model, rooted
to the spot in a Maggy Rouff gown of crocheted chenille
while visited by phantom suitors.
Vintage bromide print
The Condé Nast Archive, New York
80 — 1930s
1930s — 81
ADVERTISEMENT FOR VICTOR STIEBEL
by Peter Rose Pulham, September 1934
BARON ADOLPH DE MEYER
by George Hoyningen-Huene, February 1932
A Surrealist setting for fashion by British couturier Victor Stiebel.
Vogue’s first star photographer, whom Cecil Beaton called ‘the
Debussy of the camera’ was also himself a figure of great style
(despite his title being questionable).
Vintage bromide print
Private Collection
‘A MIDSUMMER NIGHT’S DREAM’
by André Durst, June 1936
Chiffon dresses by Molyneux in a sylvan setting recreated in the
Vogue studio and a convincing sense of impeding catastrophe.
Vintage bromide print
The Condé Nast Archive, New York
VIVIEN LEIGH by Cecil Beaton
October 1936 (unpublished version)
In a chartreuse evening dress by Victor Stiebel, Vogue
considered the actress to be ‘like a Persian gazelle in the
dark studio forest of chains and planks’.
Vintage bromide print
The Condé Nast Archive, New York
‘HARLEQUIN GAMES’ by Erwin Blumenfeld
November 1938 (unpublished version)
A playful surrealist-inspired tableau for two hats by Schiaparelli.
Vintage bromide print
The Condé Nast Archive, New York
Vintage bromide print
The Condé Nast Archive, New York
‘FASHION FLASHES’ by Edward Steichen, June 1935
The compositional possibilities of the new modern architecture,
with its sleek and uncluttered lines and white piqué dresses by
Marjorie Castle.
Vintage bromide print
The Condé Nast Archive, New York
‘I LOVE YOU’ Lisa Fonssagrives
by Horst, August 1938
In a tricorne ‘D’Artagnan’ hat by Suzy, Miss Fonssagrives,
later wife to the Vogue photographer Irving Penn, signals
‘I love you’ in sign language.
Vintage bromide print
The Condé Nast Archive, New York
LEE MILLER
by George Hoyningen-Huene, October 1931
Miller came to Vogue as a model, here in a dress by
Patou, but as a war correspondent her words and photographs
from the aftermath of D-Day to the death camp of Dachau, made
Vogue an unexpected witness to the horror of modern warfare.
Vintage bromide print
The Lee Miller Archives
82 — 1930s
1930s — 83
TILLY LOSCH by Cecil Beaton, May 1930
The expressive Austrian dancer and actress
models a polka dot suit by Yvonne Carette.
Vintage bromide print
The Lee Miller Archives
FRED ASTAIRE by André de Dienes, May 1939
‘The legend dances for us today, charmingly, gallantly.’ Performing
a solo from his new film The Story of Vernon and Irene Castle, the
epitome of pre-war male chic was seldom out of Vogue.
Vintage bromide print
The Condé Nast Archive, New York
QUEEN ELIZABETH AT BUCKINGHAM PALACE
by Cecil Beaton, 1939 (published later)
‘To my utter amazement and joy,’ wrote Beaton of his
sitting at Buckingham Palace, ‘the Queen looked a dream – a
porcelain doll – with a flawless little face like luminous china in
front of a fire. Her smile as fresh as a dewdrop.’
MARGARET WHIGHAM
by Dorothy Wilding, August 1932
‘You’re Mussolini. You’re Mrs Sweeney. You’re Camembert.’ went
one version of Cole Porter’s ‘You’re the Top’.
‘Deb of the Year’, Margaret Whigham was later
Mrs Charles Sweeney and then Duchess of Argyll.
Vintage bromide print
Private Collection
THE MARQUISE DE LA TORRE
AND MADAME MARTINEZ DE HOZ
by Frères Séeberger, January 1930
Two femmes du monde wear the season’s smartest coats.
There was ‘none more chic’ considered Vogue.
Vintage bromide print
The Condé Nast Archive, New York
Vintage bromide print
The Condé Nast Archive, New York
APRIL COMES TO PARIS: SPRING IN TOWN’
by Roger Schall, March 1936
Spring coat by Chanel in the street. Seeing clothes functioning in
everyday situations was still a novelty for Vogue readers.
Vintage bromide print
The Condé Nast Archive, New York
84 — 1930s
1930s — 85
SCHIAPARELLI DRESS
Cecil Beaton frequently photographed designer and
artist Elsa Schiaparelli and her creations. He also took
numerous photographs and sketches of Wallis Simpson
(Duchess of Windsor) and one of his sketches can be seen
on the opposite wall.
Schiaparelli was at the height of her creativity in the 1930s
and had a flair for memorable ‘artistic’ clothes, which were
popular with flamboyant clients, such as Marlene Dietrich.
She is certainly one of the most celebrated fashion designers
of the middle twentieth century, and one of the few
outstanding women couturiers.
This outfit was chosen by the Duchess of Windsor for her
wedding trousseau. She was photographed by Beaton wearing
it the day before her wedding to the Duke of Windsor in May
1937 and later in June that year. This photograph, which is shown
alongside the outfit here, appeared in Vogue.
This rare and dramatic Schiaparelli ensemble is a new addition
to Manchester City Galleries’ costume collection, which is one
of the most important in the UK. Thanks to a substantial grant
from the Heritage Lottery Fund, the Gallery is able to purchase
high-end fashion, acquiring the couture that has defined the
decades. Recent acquisitions by Dior, Lacroix, Ossie Clark and
Comme des Garçons join the Galleries’ collection of outstanding
pieces ranging from 17th century to the present day.
6 — ROCOCO SCROLLWORK JACKET AND DRESS
by Elsa Schiaparelli, Summer 1937
This rococo scrollwork jacket and dress was originally owned
by Mrs Carol Dugdale (neé Timmis), a stylish British socialite,
who bought the outfit in London. This same model was chosen
by the Duchess of Windsor for part of her wedding trousseau.
Funded by the Heritage Lottery Fund (Collecting Cultures)
and the Arts Council England/ V&A Museums
Purchase Grant Fund.
2015.16
7 — DUCHESS OF WINDSOR, CHATEAU DE CANDÉ
by Cecil Beaton, June 1937
Cecil Beaton photographed Wallis Simpson wearing the
Schiaparelli outfit the day before her wedding to the Duke of
Windsor at the Chateau de Candé, France in May 1937.
It was clearly a favourite ensemble, and Beaton photographed
her again in this more formal studio setting wearing the jacket in
June 1937. The image beautifully illustrates a marriage between
two of the most stylish figures of the 1930s.
Silver gelatin print
The Cecil Beaton Studio Archive at Sotheby’s
You can see more Schiaparelli outfits at Schiaparelli and
Thirties Fashion, currently on show at the Gallery of Costume
at Platt Hall until 23 October.
86 — 1930s
1930s — 87
1920s
HOW ONE LIVES
Vogue was born in 1916 during the chaos of the First World War.
It was an instant success. By the early roar of the Jazz Age,
America was in thrall to British taste and Britain to America’s
industrial wealth, its cinema, its music, its larger than life
personalities. London may have had class and style, but
New York had glamour and showmanship. For fashion
guidance, both still looked to Paris.
Vogue’s Editor Dorothy Todd (1916–17 and 1922–26) mixed
high- and low-brow culture with flair. Josephine Baker shared
pages with Aldous Huxley, Charlie Chaplin with Edith Sitwell.
In the course of the decade, the highly-stylized photographs
of Baron Adolph de Meyer, the first professional fashion
photographer, deferred to the modernism of Edward Steichen
and Charles Sheeler.
In 1924, Vogue published the first photographs by Cecil Beaton,
who, perhaps above all, would come to shape Vogue in the
century ahead. He and the ‘Bright Young Things’ gave vivid
expression to the fashionable life.
5
1
2
4
3
Case contents reads top to bottom, left to right.
Case 1:
JOSEPHINE BAKER by George Hoyningen-Huene 1929
(unpublished version)
The American dancer and revue artist, a symbol of the ‘Jazz Age’,
was a sensation of the Folies Bergère, Paris. This print belonged
to the photographer Horst.
Vintage bromide print
Staley-Wise Gallery, New York
Below the 1920s signage:
Nancy Cunard by Man Ray, October 1927
Harold Acton described the scion of the Cunard shipping
line family as possessing a head ‘carved in crystal with green
jade for eyes’.
Vintage bromide print
Private Collection
88 — 1920s
LADY DIANA COOPER by Hugh Cecil, April 1923
A society ornament, the daughter of the Duke of Rutland was
barely out of Vogue for the next half-century.
Vintage bromide print
The Condé Nast Archive, New York
1920s — 89
EDITH SITWELL AT RENISHAW HALL, DERBYSHIRE
by Cecil Beaton, 1927 (published later)
Beaton found natural sitters in the two Sitwell brothers, Osbert and
Sacheverell, but the unconventional looks of their sister, the poet
Edith, here at their family home, entranced him.
Vintage bromide print
National Portrait Gallery, London
‘SOAP SUDS’ Baba Beaton, Wanda Baillie-Hamilton
and Lady Bridget Poulett by Cecil Beaton, 1929 (published later)
Case 2:
VISCOUNTESS MAIDSTONE
by E.O. Hoppé, November 1916
The heiress to a Philadelphia banking fortune, who had married
into the British aristocracy, the Viscountess gave much of her time
to war work. From the magazine’s third issue, this is one of the
earliest known extant Vogue prints.
Vintage bromide print
Terence Pepper Collection
Three ‘Bright Young Things’ en fête and arranged as soap bubbles.
HELEN LYONS by Baron Adolph de Meyer, April 1922
Vintage bromide print
The Condé Nast Archive, New York
One of the stars of Irving Berlin’s Music Box Revue (1921).
Her backlit diaphanous dress by Boué Soeurs, known for
their skill with lace was, for Vogue, risqué.
ALDOUS HUXLEY
by Charles Sheeler, 1926 (published later)
Vintage bromide print
The Condé Nast Archive, New York
On the fringes of the Bloomsbury set, the future writer of
Brave New World (1932) was a sub-editor on Vogue and
later its chief book reviewer.
‘SUMMER BRINGS THE HAT’
by Baron Adolph de Meyer, June 1918
Vintage bromide print
The Condé Nast Archive, New York
Vogue’s first professional photographer, de Meyer was put under
contract on a salary of $100 a week. Impressionistic and graceful,
this is distinctive of his high romantic style.
Vintage bromide print
One Hundred Photographs: A Collection
by Bruce Bernard
MAXINE ELLIOTT by Arnold Genthe
August 1917 (unpublished version)
The American actress had opened her own off-Broadway
theatre and had lately returned from war relief in Belgium.
Vintage bromide print.
Wilson Centre for Photography
90 — 1920s
1920s — 91
Case 3:
Case 4:
HELEN WILLS MOODY
by Dorothy Wilding, June 1927 (unpublished version)
TALLULAH BANKHEAD AS ‘THE DIVINE SARAH’
by Cecil Beaton, April 1929
From 1927 until 1933 at Wimbledon, tennis player – and
epitome of sporting chic – Moody did not lose a single set.
The American actress relished comparison to European
stars such as Eleanora Duse and Sarah Bernhardt.
Vintage bromide print
National Portrait Gallery, London.
Given by the photographer’s sister Susan Morton, 1976
Vintage bromide print
The Condé Nast Archive, London
OLIVER MESSEL by George Hoyningen-Huene, April 1929
‘BARE FACTS ABOUT FASHION’
by George Hoyningen-Huene, July 1929
A sunlit arrangement – in the studio – for a
one-piece swimming costume by Lelong.
Vintage bromide print
The Condé Nast Archive, New York
‘NAVY BLUE AND WHITE ARE GOOD SAILORS’
by Edward Steichen, 1928
In the stern of George Baher’s yacht, the group of models
in clothes by Chanel includes Lee Miller (centre).
Vintage bromide print
The Condé Nast Archive, New York
MARION MOREHOUSE IN CONDÉ NAST’S
APARTMENT by Edward Steichen, June 1927
The model in a dress by Chéruit would later marry
the poet E.E. Cummings.
The leading set designer for the stage, opera and films
who was, for a time, the most highly paid in the world.
Vintage bromide print
The Condé Nast Archive, New York
SYBIL THORNDIKE by Howard Instead, May 1920
The greatest stage actress of her generation, George Bernard
Shaw had her in mind while writing Saint Joan (1924).
Vintage bromide print
National Portrait Gallery, London
FAY COMPTON AS MARY QUEEN OF SCOTS
by Maurice Beck & Helen Macgregor, October 1923
The British actress starred in a silent biopic of the ill-fated Scottish
queen but was better known for her triumphs on the stage.
Vintage bromide print
The Condé Nast Archive, New York
Vintage bromide print
The Condé Nast Archive, New York
92 — 1920s
1920s — 93
ILLUSTRATIONS
5 — To the right of 1920s signage:
In the age before photography became pre-eminent, Vogue’s
pages shone with the brilliance of the drawn image. Its first star
contributors were its fashion artists, the great draughtsmen of the
Art Deco age, among them Eduardo Benito. Two of his original
cover illustrations are shown here. Those of Helen Dryden looked
back to the decorative flair of art nouveau.
Top, left to right:
By the 1930s Vogue’s artists responded to the fashion of the
times with a freer, more spontaneous style. Cecil Beaton excelled
in the drawn portrait, two of which can be seen on the main wall in
this section. During the Second World War and into the post war
era, with their sketch boards to hand, ‘Eric’ (Carl Erickson), René
Bouché, René Bouët-Willaumez focused on the international
social round and haute couture at its zenith. Examples from this
golden age are shown in the display of Vogue magazines in the
large gallery next door and an illustration for a double page by
Eric in the 1940s section.
‘VOGUE DECO’
by Eduardo Benito, May 1926
Gouache and pencil on board
The Condé Nast Archive, New York
‘VOGUE CONSTELLATION’
by Eduardo Benito, July 1926
The original illustration for a cover.
Gouache and pencil on board
The Condé Nast Archive, New York
Below:
‘MOTLEY MAGNIFICENCE KEEPS
THE COSTUME BALL ROLLING’
by Helen Dryden, February 1923
Pen and ink on board
The Condé Nast Archive, New York
94 — 1920s
1920s — 95
VOGUE 100: A CENTURY OF STYLE
has been organised by the National Portrait Gallery
in collaboration with British Vogue.
The exhibition organisers would like to thank all the
collections and private individuals who have lent so
generously to this exhibition.
Manchester Art Gallery would particularly like to thank
The National Portrait Gallery, London; Modern Designers
and Exib Ltd.
Special thanks to Alexandra Shulman, Editor-in-Chief of
British Vogue, and her team for granting unprecedented
access to the Condé Nast Archives in London, and
Shawn Waldron, Senior Director, Archives and Records
at Condé Nast Publications Inc, New York.
Exhibition Curator
ROBIN MUIR
Original NPG design conceived
by Exhibition Creative Director
PATRICK KINMONTH
Design re-mastered for Manchester Art Gallery
MODERN DESIGNERS
Contemporary prints and frames: We are grateful to all the
printing studios that contributed to the exhibition by supplying
the highest quality prints. In particular we would like to thank
Metro Imaging Ltd who provided the largest volume and
variety of prints, working closely with the project team and the
photographers and also framed many of the works from the
1970s to present day.
Period frames supplied by
Bourlet Conservation Frames Ltd, Darbyshire and John Jones
96 — Acknowledgements