Vogue
The first illustrated fashion magazine grew out of a weekly society paper that began in 1892. Vogue magazine's inauspicious start as a failing journal did not preview the success that it would become. In 1909, a young publisher, Condé Nast, bought the paper and transformed it into a leading magazine that signaled a new approach to women's magazines. In 1910, the once small publication changed to a bi-monthly format, eventually blossoming into an international phenomenon with nine editions in nine countries: America, Australia, Brazil, Britain, France, Germany, Italy, Mexico, and Spain.
Following the vision of Condé Nast, Vogue has continued to present cultural information, portraits of artists, musicians, writers, and other influential people as well as the current fashion trends. Since its inception, the magazine has striven to portray the elite and serve as an example of proper etiquette, beauty, and composure. Vogue not only contributes to the acceptance of trends in the fashion and beauty industry, but additionally has become a record of the changes in cultural thinking, actions, and dress. Glancing through Vogue from years past documents the changing roles of women, as well as the influences of politics and cultural ideas throughout the twentieth century.
The power that Vogue has had over many generations of women has spawned a plethora of other women's magazines—such as Cosmopolitan, Glamour, and Mademoiselle —which have sought to claim part of the growing market of interest. Despite the abundance of women's magazines, no other publication has been able to achieve the lasting influence and success of Vogue.
By incorporating photography in 1913, and under the direction of Edna Woolman Chase (Editor-in-Chief from 1914 to 1951) and Art Director Dr. Mehemed Gehmy Agha, Vogue reinvented its image several times. With the occurrence of the Depression and later, World War II, readership soared. Readers looked to the magazine to escape from the reality of the hardships in their lives. In the midst of the Depression fashions reflected the glamour of Hollywood; then came movies with their enormous influence on the ideas of fashion and beauty. Photographers Edward Steichen, Cecil Beaton, and Baron de Meyer emphasized this glamour by presenting their models in elaborate settings. Additionally, Vogue began focusing on more affordable, ready-to-wear clothing collections. During the war, images of fashions within the magazine emulated the practicality of the era. Different, more durable and affordable fabrics, and simple designs became prominent. The magazine demonstrated that even in difficult circumstances, women still strove for the consistency of caring for everyday concerns regarding fashion and beauty. Balancing the lighter features, ex-Vogue model and photographer Lee Miller's images of the liberation of Europe also provided a somber and intellectual view of the war. This element of the magazine kept readers involved and informed of the realities of the war.
Under the supervision of Jessica Daves (Editor-in-Chief 1952-1962) and Russian émigré Alexander Liberman (Art Director 1943-December 1963, Editorial Director of Condé Nast Publications, Inc. 1963—), simplicity of design in Vogue prevailed after World War II. One main component of the re-formatting undertaken by Daves and Liberman was the hiring of photographer Irving Penn in 1943, who, along with Richard Avedon, modernized fashion photography by simplifying it. Penn used natural lighting and stripped out all super-fluous elements; his images focused purely on the fashions. Penn and other photographers also contributed portraits of notable people, travel essays, and ethnographic features to the magazine. Thoughtful coverage on the issues of the day, in addition to the variety of these stories and supplementary columns—including "People Are Talking About," an editorial consisting of news regarding art, film, theater, and celebrities' lives—counterbalanced the fashion spreads which showcased the seasonal couture collections. Vogue magazine became multi-faceted, appealing to readers across several economic and social stratus.
Diana Vreeland (Editor-in-Chief, 1963 to June 1971), with her theatrical style, brought to the magazine a cutting-edge, excitingquality. Vreeland, famous for coining the term "Youthquake," focused on the changing ideas of fashion in the 1960s. Under her hand, Vogue became even more fashion oriented, with many more pages devoted to clothing and accessories. Imagination and fantasy were the ideals to portray within the pages of the magazine. Clothes were colorful, bright, revealing, and filled with geometric shapes that played with the elements of sex and fun. Additionally, during this era, models no longer became merely mannequins but personalities. The photographs depicted the models in action-filled poses, often outside of a studio setting. The women became identifiable; Suzy Parker, Penelope Tree, Twiggy, and Verushka became household names and paved the way for Cindy, Claudia, Christy, and Naomi, the supermodels of the 1980s and 1990s.
Collaborating with photographers such as Helmut Newton, Sarah Moon, and Deborah Tuberville, Grace Mirabella (Editor-in-Chief, July 1971 to October 1988) also brought a sensual quality to the magazine; the blatant sexualized images from the 1960s became more understated, although no less potent. Tinged with erotic and sometimes violent imagery, the fashion layouts featured clothing with less of an exhibitionist quality; apparel became more practical. Filling the fashion pages were blue denim garments and easy to wear attire. Mirabella, in keeping with this practicality, adapted the magazine to a monthly publication. At this time, Vogue also shrank in cut size to conform to postal codes. As a result, each page became packed with information; Vogue became a magazine formulated for a society filled with working women on the go.
The tradition of Vogue as a publication that covers all aspects of each generation continues. Under the guidance of Anna Wintour (Editor-in-Chief, November 1988—) the magazine has expanded beyond only reporting cultural and political issues and presenting fashion trends, and is now considered to validate new designs and designers. Vogue continually seeks out, presents, and promotes new ideas regarding clothing, accessories, and beauty products, and as a magazine entertains, educates, and guides millions of women.
Further Reading:
Devlin, Polly, with an introduction by Alexander Liberman. Vogue Book of Fashion Photography. London, Thames and Hudson, 1979.
Kazajian, Dodie, and Calvin Tomkins. Alex: The Life of Alexander Liberman. New York, A.A. Knopf, 1993.
Lloyd, Valerie. The Art of Vogue Photographic Covers: Fifty Years of Fashion and Design. New York, Harmony Books, 1986.
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