Newspaper Editors in the 1950s and 60s Kimberly Wilmot Voss Fashion Editors in the 1950s and 60s

Women Writers of the Runway Kimberly Wilmot Voss Nicholson School of Communication and Media University of Central Florida Orlando, FL, USA

ISBN 978-3-030-73623-1 ISBN 978-3-030-73624-8 (eBook) https://doi.org/10.1007/978-3-030-73624-8

© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2021 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affliations.

Cover illustration: CSA-Printstock

This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland This book is dedicated to all of the newspaper fashion editors who shaped the dress of their communities only to be forgotten by fashion and historians when the women’s pages ended. It is also dedicated to journalism students who embrace soft when hard news is often emphasized. As always, it is dedicated to my husband and editor Lance Speere, as well as our children, Curtis and Paul. It takes a family for a book to be completed—especially during a pandemic. Preface

Long neglected by journalism scholarship, the content of the newspaper fashion sections and the women who oversaw the sections were signifcant to their readers and the booming fashion industry of the post–World War II era and should be worthy of historical study. This book will explore the complexity of the fashion sections and the important reporting the women did in their jobs. Fashion editors worked in the women’s pages of newspa- pers. Overall, it was the place where most women worked for decades—from the 1880s through the early 1970s. When the women’s pages turned into lifestyle sections, many positions were eliminated at metropolitan . But prior to the loss of the wom- en’s pages, the post–World War II years through the early 1970s were considered the Golden Era. These sections spoke to local women in a way that other media did not. This examination of fashion journalism focuses on mainstream newspa- pers. Women’s Wear Daily (sometimes known as the WWD) is a fashion-­ industry trade publication sometimes called “the bible of fashion.” It provides news about trends in men’s and women’s , beauty col- umns and retail information. Its readership is made up largely of retailers, designers, manufacturers, marketers, media executives, and advertising agencies. Because the audience is different, WWD is not included. (It is worth mentioning that several newspaper fashion editors did work at WWD early in their careers, such as Marian Christy, Nina Hyde, and Eugenia Sheppard.) Newspaper fashion editors had many duties. They pulled wire copy, interviewed local women about their fashion choices and visited local

vii viii PREFACE stores to see what was available. They also traveled to national and inter- national fashion shows, interviewed designers, and offered their opinions on trends. Many of them also served as beauty editors—writing about new products, weight loss options, and the popular hairstyles. The editors interacted with each other and were able to network at a time when they were usually excluded from journalism organizations. Most fashion editors stayed in their position at their newspapers for many years and became experts on what their readers were interested in. It was what would be described today as “hyper-local” reporting. In their communities, they addressed everything from dress codes to gender-based concerns over wearing pants. They covered the debate over skirt length and the wearing (or not wearing) of bras. These topics were social, political, and commercial. They defned time periods, gender roles, and regions of the country. They did all of this while applying the ethical guidelines of their feld and working to keep advertisers at arm’s length. As journalists, all of this work was done while on deadline. It is worth men- tioning that these editors were almost all women—the only exception found was Richard Cobb, whose name was mentioned covering fashion in 1958 and 1959.1 These women were typically not allowed in the . “We were in some dark little corner of the Times,” according to New York Times fash- ion editor Phyllis Levin. The male journalists from downstairs rarely vis- ited. “It was as if we kept the measles up on the ninth foor,” she said.2 This was true at newspapers across the country where the women’s section was considered different than the traditional news departments. Part of this was considered a way of “protecting” women who could not handle the swearing and rough language of the newsroom. The time period for this book begins during World War II, as American fashion was developing. Newspaper fashion editors had new topics to cover from rations to new non-European designers. In the postwar con- sumer age, the increase in advertising caused the sections to be thicker. These large sections meant more fashion coverage. The sections included changes in styles, fabrics, and fewer hats as the years went by. The 1960s, of course, led to increasing fashion changes based on the growing youth generation. During this period, several signifcant American fashion shows were held, including one in Moscow and one at the White House. The third signifcant show was known as the Battle of Versailles. Held in 1973, it pitted French designers against American designers in front of an impressive audience. It was clear that the Americans had won. PREFACE ix

Here is where the book ends—as American fashion had achieved domi- nance and the women’s pages had ended. This book writes the fashion editors and their work into history.

Fashion Editors Studied The goal of this book was to include as many fashion editors who would represent American newspapers. Well-known New York fashion editors were the frst to be included—such as Eugenia Sheppard and Virginia Pope. Next were the signifcant Washington, D.C., fashion editors—such as Eleni Epstein, Nina Hyde of , and Dorothy LeSueur of the Washington Post. (The signifcance of these women was reinforced by their roles in the 1968 White House .) In terms of fnd- ing and recognizing fashion editors across the country, the fles of the fashion winners of the Penney-Missouri Awards were examined. These awards were the top prizes for women journalists in the 1960s. More names were culled from stories written by fashion editors, who often would mention their fellow editors from other newspapers in stories about fashion show coverage. Another resource was Annie Lee Singletary’s book about covering fashion, which included the names of numerous fashion editors. Finally, Boston fashion editor Marian Christy wrote a book about her years as a fashion reporter that was invaluable. (She went on to be known for her celebrity interviews.) The goal was to provide as much information about these women as possible but it was not always easy. Some seemingly signifcant fashion edi- tors did not leave much of a trail. For example, fashion editor Madeleine Corey, of the Providence Journal-Bulletin, regularly covered fashion shows and wrote fashion columns. Yet, it was diffcult to fnd much material about the Rhode Island fashion editor. Corey’s name was mentioned often in news stories about covering fashion shows but there was not much more in the historical record. There are few clips available, for example. Luckily, her state’s journalism hall of fame provided details about her career. She was described as famous for her fancy hats and fur coats as for her ability to skewer poor clothing trends. Corey’s former editor, Ted Holmberg, who worked with her for 20 years said: “She always wore hats. I don’t remember ever seeing her without one. She had a great sense of humor about herself. She took the proper things seriously, and didn’t let the rest of it bother her.”3 x PREFACE

In addition, there is little available about Penney-Missouri Award-­ winner Vivian Kawatzy of the Milwaukee Sentinel who covered important fashion news. Only a few articles were available—but no obituary that would list important details about her life. There were a few letters that she wrote in the Penney-Missouri Award papers that provided some understanding of her career. In many ways she represents the important women in journalism fashion who have not become part of the histori- cal record.

Materials Most helpful in discovering the work of newspaper fashion editors were the Penney-Missouri Award papers available at the National Women and Media Collection (NWMC) in Missouri. There was one award granted annually. The editors who won the annual fashion award wrote letters back and forth to the director of the awards, Paul Myhre. These letters revealed how the women covered fashion in their communities and at their newspapers. They also included clips that could not be found else- where. These papers also included speeches given by several of the fashion editors, which revealed their views on fashion and journalism. It gave a frst-person view of the labor that the beat required. Marjorie Paxson, who helped establish the NWMC archive, also donated papers that led to many fashion clips from the Houston Chronicle in the 1950s. It also included in-house newspaper ads that revealed the value that fashion gave to the newspaper. Washington Star fashion editor Eleni Epstein also gave her papers to the NWMC. They revealed not only her fashion reporting but correspondence with her editors and her read- ers. This material was important in establishing Epstein’s signifcance in the Washington, D.C., community. Further documents about Epstein were found in the Fashion Group International fles. Several other archives provided additional information. The University of Wisconsin-Milwaukee had information about fashion editor Aileen Ryan, which was helpful in understanding the role of gender in the feld. The University of California Los Angeles had a letter written by fashion designer Bonnie Cashin to Chicago fashion editor Peg Zwecker that revealed important information about their relationship. It showed the conversational relationship between the two women. These kinds of cor- respondence are often diffcult to fnd for newspaper fashion editors. PREFACE xi

The clip scrapbooks of Miami Herald beauty editor Eleanor Hart (pen name of Eleanor Ratelle) at the Miami History Museum were very helpful. These books included both her stories and letters from readers. It showed what Miami residents were interested in and how a beauty editor (often part of the responsibility of a fashion editor) responded. This examination was in the days before the pandemic closed much of Florida and the rest of the country. Several oral histories of fashion editors were discovered. These histories included Nina Hyde, located at the Fashion Institute of Technology, and Marylin Bender, located at the Columbia University. Both histories also focused on their law degrees—although neither women practiced law. Two other oral histories examined were of Nadeane Walker Anderson, at the Associated Press archive, and Virginia Pope, at the New York Public Library. Both were helpful in understanding the role of newspaper fashion editor, at home and abroad. One especially helpful resource was the book written by longtime North Carolina fashion editor Annie Lee Singletary, The Flip Side of Fashion: 30 Years of Dress and Press. The hard-to-fnd publication was tracked down at an archive. The book documented Singletary’s coverage of the New York City fashion shows and her friendship with numerous other fashion editors. Her book provided insight into how the fashion edi- tors worked and the challenges they faced as reporters. Further material about Singletary was found in the North Carolina Collection of the Forsyth County Public Library. The only fashion editor directly interviewed for this research was Pittsburgh fashion editor Barbara Cloud. She answered numerous ques- tions by email that feshed out her career. She had great recall of her career and explanations about fashion journalism in the 1950s and 1960s. In addition, many of her fashion articles are available online. A book that reprinted her columns, including her fashion articles, was also helpful. Brief email interviews were held with family members of fashion editors Drue Lytle and Judy Lunn. This help is appreciated and allowed for a bet- ter understanding of journalism history. Lastly, two presidential libraries provided fashion journalism informa- tion. Extensive information about the 1968 White House Fashion Show were found in papers at the Lyndon B. Johnson Presidential Library and Museum. These papers included newspaper fashion clips, letters, and memos in relation to newspaper fashion editors Epstein and Hyde. The xii PREFACE

Gerald R. Ford Presidential Library contained information about First Lady Betty Ford and furs—an important industry at the time.

Chapter Organization Each chapter other than the frst concludes with media coverage of a fash- ion show. This is because reporting on these shows were central to the work of newspaper fashion editors. As one scholar noted, “The fashion show has played a key role in the development of the modern fashion industry.”4 Beginning from about 1900, fashion shows were staged in couture houses and department stores in Britain, France, and the United States. Often, they were charity fundraising events.5 After World War II, when Christian Dior opened in Paris with his “New Look,” the modeling style was described as “extravagant and theatrical” as a contrast to the rationed wartime clothing.6 (At the time, the term mannequin was often used rather than model.) By the mid-1950s, the kind of fashion show known today was established: “The crammed audience and the seating plan, with infuential journalists in the front row, was by now an estab- lished protocol.”7 The book concludes with a list of American fashion editors and brief biographies in an effort to create a historical record for these forgotten women. It is hoped this information provides a foundation for further scholars to build on.8

Orlando, FL Kimberly Wilmot Voss

Notes

1. “Cobb’s Job Stumps Panel,” Virginian-Pilot, August 4, 1958. 2. Amanda Svachula, “When the Times Kept Female Reporters Upstairs,” New York Times, September 20, 2018. 3. “Madeliene Corey Lennon Dies; Former Fashion Writer for J-B,” Providence Journal-Bulletin, January 29, 1983. 4. Caroline Evans, “The Enchanted Spectacle, Fashion Theory, April 2015, 271. 5. Caroline Evans, “The Enchanted Spectacle, Fashion Theory, April 2015, 271. 6. Caroline Evans, “The Enchanted Spectacle, Fashion Theory, April 2015, 291. 7. Caroline Evans, “The Enchanted Spectacle, Fashion Theory, April 2015, 291. 8. Llyod E. Ambrosius, Writing Biography: Historians & Their Craft (Lincoln, Nebraska: University of Nebraska Press: 2004). Acknowledgments

Writing a book on the history of fashion journalists requires hours upon hours, which turn into days upon days, of searching for newspaper stories, obituaries, speeches, oral histories, and other material from archives scattered across the country. Accessing and retrieving the material cannot be completed without the knowledge and help of the hardworking women and men dedicated to preserving these invaluable resources. They were always quick to respond and eager to assist. When in-person visits were not possible, their willingness to copy and send digital copies proved to be most helpful. I also want to acknowledge Francesca Granata, associate professor at the Parsons School of Design, the New School. My talk to her class in 2019 about fashion in the women’s pages led to the proposal for this book. I want to thank the Interlibrary Loan Librarians at the University of Central Florida who tracked down fashion newspaper articles. They found sometimes obscure articles and books. These materials helped to better understand the fashion journalism feld. The National Women and Media Collection had numerous helpful fles, and many visits beginning in 2000 helped to explain the true content of the women’s pages. I appreciate all of the Missouri archivists who helped me during my visits. In more recent years, I am very thankful for the help of Elizabeth Engel—who responded to my many copy requests. I appreciate the help from the Forsyth County Library in North Carolina who provided information about fashion editor Annie Lee Singletary. The HistoryMiami Museum allowed me to go through the

xiii xiv ACKNOWLEDGMENTS scrapbooks of Miami Herald beauty editor Eleanor Hart. Her clips (and accompanying notes) demonstrated the beauty and diet news of the 1960s. Several oral histories of fashion editors were discovered at the Fashion Institute of Technology, Columbia University, Associated Press, and the New York Public Library. I appreciate the assistance of the librarians and archivists who helped locate the transcripts. These online resources were especially appreciated when most archives and libraries were closed. Two presidential libraries provided fashion journalism information: the Lyndon B. Johnson Presidential Library and Museum and the Gerald R. Ford Presidential Library. I appreciate the help retrieving letters, memos, and press clips from the libraries. Many of these documents were scanned and emailed during the research for this book. The assistance was especially helpful during the pandemic. And fnally, thank you to the peer reviewers who provided valuable sug- gestions and to the editors at Palgrave Macmillan for making this book possible. Contents

1 Who’s Wearing the Pants? How Reported the Changing Dress of Women 1

2 Fashion Journalism in Newspapers during World War II, and Beyond 15

3 Post-World War II, Changing Dress in America, and Moscow Fashion Show 41

4 National Fashion Editors, Pioneers, and Fashion Designers 61

5 Local Fashion Editors, Business Impact, and Regional Fashion Shows 85

6 Ethics, Advertising, and the White House Fashion Show 105

7 Fashion Journalism in the 1960s and 1970s, and the End of the Women’s Pages 119

xv xvi Contents

Appendix: Brief Biographies of Newspaper Fashion Editors 143

Selected References 161

Index 167