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Home , Alexandra Shulman, Anna Ewers, Antony Price, Arthur Elgort, Bright Young Things, British Vogue

Large Print Guide

You can download this document from www.manchesterartgallery.org Sponsored by While principally a 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 Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, in collaboration with Tracing the work of era-defining photographers, models, as part of the magazine’s centenary celebrations. 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 ‘Mighty Aphrodite’ of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, ’s body-sculpting superwoman demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott

Introduction — 3 FILM ROOM THE FUTURE OF FASHION Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG HEAT WAVE Damaris Goddrie and Frederikke Sofie dir. Canada, July 2015 dir. Tyrone Lebon, February 2016 HOW TO WEAR PINK Ola Rudnicka OUT OF THE SHADE Dakota Johnson dir. Bertrand Le Pluard, July 2015 dir. Alasdair McLellan, February 2016 MERCURY RISING Freya Beha Erichsen AND dir. Ivan Shaw; dir. , June 2015 photographer , December 2015 AT HOME WITH POPPY DELEVINGNE KARLIE KLOSS dir. Columbine Goldsmith, December 2015 dir. Barbara Anastacio, June 2015

THE SPY WHO LOVED ME Léa Seydoux COUTURE QUEEN dir. Francesco Roversi; dir. Jeremie Rozan, November 2015 photographer , May 2015

COOKING UP A STORM SEVIGNY STYLE Chloë Sevigny dir. Tyrone Lebon, May 2015 dir. , October 2015 IN THE LAND OF DREAMY DREAMS HOW TO BE BRITISH Sienna Miller dir. Tim Walker, May 2015 dir. Justin Anderson, October 2015 MISS VOGUE’S DATE WITH CRESSIDA BONAS BECKHAM’S GUIDE TO dir. Sean Thomas, April 2015 dir. Niall Kenny, October 2015 GIRLS ON FILM , May Jagger THE SHINING Line Brems, Aamito Lagum and Willems and dir. Mario Testino, April 2015 dir. Francesco Roversi; photographer Paolo Roversi September 2015 DARK ANGEL Aya Jones, Xiao Wen Ju, Harleth Kuusik, Yumi Lambert and Nastya Sten dir. Tim Walker March 2015 ON EQUALITY Stella McCartney, Erdem Moralioglu, Jonathan Saunders and NATURAL WONDER Mia Goth dir. Joe Conrad Williams; dir. Kathryn Ferguson, September 2015 photographer Harley Weir, January 2015

4 — Film Room Film Room — 5 THE SHOOTING PARTY THE FACE Cara Delevingne dir. Tim Walker, December 2014 dir. Alasdair McLellan, January 2014

TAYLOR MADE MADE IN BRITAIN – , Jean Campbell, Karen dir. Mario Testino, November 2014 Elson, Malaika Firth, , Kate Moss and Gareth Pugh dir. Tim Walker, December 2013 THE HOMECOMING dir. Bruce Weber, September 2014 THE BAD BOY OF – Sergei Polunin dir. Matty Melvin; photographer Nik Hartley THE POSH TEST Matthew Beard, , Sam Claflin, October 2013 Jack Farthing, Freddie Fox, Josh O’Connor and Sam Reid dir. Pundersons Gardens; photographer Scott Trindle MEET ME IN MONTAUK Jean Campbell and Ian Mellencamp August 2014 dir. Bruce Weber, October 2013

WAY OUT WEST Dree Hemingway PRIMA DONNA Catherine McNeil dir. Angelo Pennetta, July 2014 dir. Mario Testino, September 2013

ELLE OF THE BALL Elle Fanning PINK LADY Cara Delevingne dir. Lucy Luscombe; dir. Angelo Pennetta June 2014 photographer ,September 2013

LIFE THROUGH A LENS ALL ABOUT EDIE Edie Campbell dir. Mike Cunliffe; dir. Glen Luchford, April 2014 photographer David Sims, April 2013

PARADISE CITY Charlotte Free and HEARTBREAK HOTEL dir. Tyrone Lebon, March 2014 dir. Charlie Robins; photographer Javier Vallhonrat April 2013 POP CORE Kätlin Aas, Lexi Boling and Sam Rollinson dir. Pundersons Gardens; photographer Craig McDean IF I TAKE YOUR PHOTOGRAPH, WILL YOU TAKE MINE? March 2014 Mia Wasikowska dir. Bruce Weber, September 2012

RAINBOW BABE Conceived and compiled by dir. Mario Testino, March 2014 Venetia van Hoorn Alkema and Jana Otte Music mixed by John Monkman MEET THE MODELS Georgia May Jagger, Sam Rollinson Running time: 3 minutes and Charlotte Wiggins dir. Lucy Luscombe, February 2014

6 — Film Room Film Room — 7 ‘MODERN MARINERS PUT OUT TO SEA’ by George Hoyningen-Huene, July 1930 ICONS Swimwear by Izod. The subjects share a sporty boyishness. 100 YEARS IN VOGUE ‘Modern people,’ Huene observed, ‘seem so androgynous to me’. From 1916 to today, Vogue’s image-makers have not just Vintage bromide print been the great names in fashion and portraiture, but the Collection of William T. Hillman, ; great names of modern photography itself: from Baron Adolph promised gift to the Carnegie Museum of Art, Pittsburgh de Meyer to Mario Testino, from to Nick Knight. Here, at the start of this century-wide survey, is a selection from Vogue’s greatest moments. ‘RENAISSANCE’ Wenda Rogerson, London by Clifford Coffin,June 1947 From left to right beneath ‘100 YEARS...’ signage: A bomb-damaged staircase in Grosvenor Square and an by Rahvis.

DOLORES WITH CRYSTAL BALL Vintage bromide print by Baron , May 1919 The Condé Nast Archive, London A Ziegfeld showgirl, Dolores was the star of Midnight Frolic. A clip in platinum and diamond by fixes her veil. YVES SAINT LAURENT AT HIS FIRST COLLECTION, by Irving Penn, Vintage bromide print February 1958 (unpublished version) Museums The 22-year-old designer was appointed head designer at Christian in 1957, following the death of the fashion DETOLLE CORSET FOR house’s founder. by Horst, September 1939 Bromide print (printed later) Madame Bernon wears a corset designed for the American The Irving Penn Foundation couturier Mainbocher. This was the German photographer Horst’s last photograph before fleeing Paris for the . When he returned it was as an American citizen. Vintage bromide print Courtesy of Andrew Cowan

8 — Icons Icons — 9 ON A RALEIGH MOTOR BICYCLE ‘FASHION’S NEW SPIRIT’ Sarah Murray in South London by Ronald Traeger, July 1967 by , March 1993 ‘Twiggy is called Twiggy,’ explained Vogue, ‘because she looks ‘Floaty layers in a field of dreams’, a long coat as if a strong gale would snap her in two and dash her to the and shift dress by Comme des Garçons. ground’. Seersucker dress by Twiggy at Miss Selfridge. Vintage C-type colour print Vintage bromide print The Condé Nast Archive, London Courtesy of Tessa Traeger, Keeper of the Ronald Traeger Archive ‘GOLD KATE’ by Nick Knight, December 2000 The theme for the end of the first year of the new millennium ‘SCENES FROM THE SOVIET UNION’ was gold and all it signified. For Vogue the most inventive British in by , January 1976 designers created special gold outfits. The swan-necked profile On top of the statue of Thamar on the banks of Lake Sevan, was by now instantly recognisable. Armenia, in a jersey swimsuit by C&A. Screen print on foil Archival C-type print from original colour transparency Courtesy of Nick Knight and SHOWstudio Norman Parkinson Ltd/ Courtesy Norman Parkinson Archive ‘HOPE AND GLORY’ Kate Moss ‘UNDER WESTON EYES’ Bruce Hulse and by Mario Testino, October 2008 by Bruce Weber, 1982 In the Master Shipwright’s House at Deptford, a dress and This homage to the American photographer ’s guipure by Elie Saab Couture and vintage union flag jacket way of seeing and way of life was shot in and around Weber’s by Russell Sage. home in Long Island. Archival C-type print Vintage bromide print Courtesy of Mario Testino The Condé Nast Archive, London

10 — Icons Icons — 11 A CENTURY IN PRINT Late February 1919 Fashion illustrations by Helen Dryden The Vogue Library has an archive of priceless photographs, numbering many hundreds of thousands, as well as the collection of original magazines. Dating back to 1916, many remain as fragile Late March 1920 single issues, but historically a copy of each was also bound into Cover illustration by George Plank volumes for reference. There are over 1500 issues of British On loan from the 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’. Early May 1921 In these cases is one original copy from each year of Cover illustration by George Plank Vogue’s existence. The timeline of copies includes Vogue On loan from the Museum of London covers, illustrated and photographic, and a selection of double page spreads. Apart from showing Vogue’s photographs and Early December 1922 illustrations in context, it presents another important aspect of Fashion posed by Justine Johnstone the magazine’s history: its art direction and graphic design for Photographs by & Macgregor which it has been celebrated throughout the century.

Starting from by the main entrance, follow the cases Late May 1923 Portrait of by Wladimir Rehbinder back and forth across the room from left to right:

All issues on loan from the archive of British Vogue Early January 1924 unless otherwise stated. ‘London’s Music’ Illustrations by Edmond Kapp

Late September 1916 Late January 1925 The first issue of Vogue. Cover by Helen Thurlow Cover illustration by Georges Lepape Terence Pepper Collection Early November 1926 Portrait of Charlie Chaplin by Edward Steichen Early January 1917 Frontispiece of Mrs Vernon Castle by Victor Georg Michelle Meyer-Masterson/Elegantly Papered

Early September 1918 28 December 1927 Cover illustration by Helen Dryden ‘The Fun of Dressing Up’ Illustration by Terence Pepper Collection

12 — Magazines Magazines — 13 18 April 1928 ‘Art Deco’ interiors. Photographs by Harting and Chevenon 23 December 1936 On loan from the Museum of London ‘Chelsea Arts Ball’ Illustration by Simeon Braguin Vince Aletti Collection 6 February 1929 Cover illustration by Georges Lepape 9 June 1937 Vince Aletti Collection Wedding day at the Château de Candé. Portraits by Cecil Beaton

9 July 1930 20 July 1938 ‘The Hand-Knit Swimsuit Swims into Fashion’ ‘Primer of Art’ Photographs by George Hoyningen-Huene 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 August 1940 Cover photograph of Lisa Fonssagrieves by Horst Vince Aletti Collection

February 1941 13 April 1932 ‘Your Hair’ Photograph by Horst Cover illustration by Georges Lepape

On loan from the Museum of London March 1942 ‘The Personality of Planes’ Text and illustrations by Paul Nash 3 May 1933 Cover illustration by Alex Zeilinger December 1943 Vince Aletti Collection Cover photograph by John Rawlings

3 October 1934 July 1944 ‘Variety in Silhouette’ Photographs by George Hoyningen-Huene ‘The Apotheosis of the Bicycle’ Photographs Robin Muir Collection by Norman Parkinson

15 May 1935 Cover illustration by ‘Eric’ [Carl Erickson]

14 — Magazines Magazines — 15 April 1945 February 1954 ‘Through the Alsace Campaign’ An adaptation of the Bank of ’s Common Seal Text and photographs by Cover design by John Parsons

January 1946 March 1955 Cover photograph by Erwin Blumenfeld Cover photograph by John Rawlings

April 1947 August 1956 ’s first collection Illustration by Lila de Nobili Cover photograph by Norman Parkinson Portrait of Dior by Clifford Coffin September 1957 October 1948 The Paris Collections Photograph by William Klein ‘Penn Portraits’ Illustration by René Bouché

June 1949 September 1958 ‘Matisse Designs a New Church’ Text by Rosamond Bernier, ‘Young Idea’ Photographs by Norman Parkinson Portrait by Clifford Coffin November 1959 June 1950 ‘Va-va-voom!’ Photographs by Tony Armstrong Jones Cover photograph of Jean Patchett by Irving Penn Early March 1960 August 1951 Cover photograph by Claude Virgin ‘The Festival of Britain’ Photographs by Anthony Denney October 1961 March 1952 ‘Evening Looks and All that Jazz’ The death of George VI. Cover design by John Parsons Photograph by Brian Duffy

July 1953 September 1962 The coronation of Elizabeth II ‘Tribute to ’ Portrait by Bert Stern Portrait and illustration by Cecil Beaton June 1963 Cover photograph of Sandra Paul by Peter Rand

16 — Magazines Magazines — 17 January 1964 November 1973 ‘The Big Mad Fur’ Photographs of Cover photograph of Princess Anne by Norman Parkinson by July 1974 August 1965 ‘Play it Again, Sam…’ Marie Helvin by Willie Christie Cover photograph of Jill Kennington by David Bailey September 1975 March 1966 ‘Delicious Knits with Plain and Purl’ by Sarah Moon Cover photograph of by David Bailey October 1976 January 1967 Vogue’s Diamond Jubilee issue. Cover design by ‘How to Stop Over Impressing Your Friends….’ by Arabella Boxer Illustration by Alan Aldridge September 1977 ‘What a Rip-off’ Photographs by Lothar Schmid March 1968 ‘Rain’ Photograph by Helmut December 1978 ‘Pink and Sparkling Presence’ Photographs by Albert Watson August 1969 ‘Art Deco’s Second Flowering’ Text by Bernard Nevill December 1979 Photographs of by Barry Lategan ‘The Factor’ Text by Harlan Kennedy. Portrait by Snowdon

July 1970 April 1980 Cover photograph of and Cover photograph of Carol Alt by Alex Chatelain by David Bailey August 1981 March 1971 The marriage of the Prince of Wales to Lady Diana Spencer. ‘The Paris Collections’ Photographs by Barry Lategan Portraits by Snowdon

January 1972 December 1982 ‘Satin and Rubber, to Boot! Rubber, to Heel!’ ‘Under Weston Eyes’ Photographs by Tessa Traeger Photographs by Bruce Weber

18 — Magazines Magazines — 19 July 1983 October 1992 ‘Filming after a Fashion’ Photographs by Bruce Weber ‘The Paris Collections’ Photograph of by Max Vadukul October 1984 ‘Vogue Food’ Text by Arabella Boxer December 1993 Photograph by Tessa Traeger ‘Anglo-Saxon Attitude’ Photograph of Honor Fraser by April 1985 Cover photograph of Michelle Eabry by Patrick Demarchelier August 1994 ‘Small Wonder’ Text by Lesley White August 1986 Photographs of Kate Moss by ‘New Day at the London Collections’ Photographs of Yasmin LeBon by March 1995 ‘Dress to Dazzle’ Photograph of by Nick Knight December 1987 Cover photograph of Naomi Campbell by Patrick Demarchelier March 1996 Cover photograph of by Kim Knott October 1988 ‘Passion Flower’ Text by Victoria Glendinning October 1997 Portrait of Dame by Snowdon Memorial cover for Diana, Princess of Wales Portrait by Patrick Demarchelier February 1989 ‘The New ’ Text by Sarajane Hoare December 1998 Portraits by ‘Earth Girls’ Photograph of at Glastonbury by Tim Walker January 1990 The . Photograph by Peter Lindbergh December 1999 Vogue’s millennium issue. Cover design by Robin Derrick June 1991 Vogue’s seventy-fifth anniversary issue. Portrait of Linda October 2000 Evangelista, and by Herb Ritts ‘Man Child’ Text by Justine Picardie Portrait of Robbie Williams by Mario Testino Vogue’s seventy-fifth anniversary supplement Portrait of by Tyen (after Horst, 1940)

20 — Magazines Magazines — 21 February 2001 September 2010 Photograph of Naomi Campbell by Mario Testino ‘Dark Angel’ Text by Charlotte Sinclair Portrait of Jamie Bochert by January 2002 ‘Fashion’s Force’ Cover photograph by Mario Testino June 2011 ‘Road to Revolution’ Text by Rana Kabbani May 2003 ‘Still Rolling’ Portrait of by Mario Testino April 2012 ‘Great Expectations’ Portrait of Sienna Miller December 2004 by Ryan McGinley ‘The Greatest Show on Earth’ Photograph of Erin O’Connor by Tim Walker March 2013 Cover photograph of Cara Delevingne July 2005 by Mario Testino ‘Lily Takes a Trip’ Photograph of in India by Tim Walker January 2014 December 2006 ‘The Face’ Portrait of Cara Delevingne Vogue’s ninetieth anniversary issue by Alasdair McLellan Cover design by Robin Derrick September 2015 December 2007 ‘Fade to Black’ Photographs of Estella Boersma ‘Naomi’ Photographs by Patrick Demarchelier by Jamie Hawkesworth

December 2008 June 2016 ‘Fantastic Fashion Fantasy’ Photograph of Kate Moss Vogue’s Centenary issue. Cover photograph of HRH by Nick Knight The Duchess of by Josh Olins

October 2009 ‘Brilliantly British’ Photograph of Kate Moss by Mario Testino

22 — Magazines Magazines — 23 4 — ‘AN AWFULLY BIG ADVENTURE’ Kirsi Pyrhonen in Mongolia by Tim Walker, December 2011 2010s Finding common ground, a goat-hair jacket by Giles, a goat-fur Starting below the 2010s signage: jacket as headpiece by Isabel Marant and a wild marshland yak.

Archival pigment print 6 Courtesy of Tim Walker 4 8 2 1 7 5 — ‘PRIVATE DANCER’ Guinevere van Seenus as 3 9 Vargas pin-up by Javier Vallhonrat, April 2010 5 The Jazz Age posters of illustrator Alberto Vargas inspired the season’s seductive style. Silk cape from Tour de Force, silk bra 1 — SAM ROLLINSON AND MAX MINGHELLA by Jean-Paul Gaultier and hot-pants by Laura Urbinati. IN YORKSHIRE by Alasdair McLellan, August 2013 Archival C-type print The young actor and the star modelled the British Courtesy of Javier Vallhonrat collection in and around the latter’s home town in south Yorkshire. Wool dress by JW Anderson. 6 — ‘LIGHT FANTASTIC’ Suvi Koponen Archival black and white bromide print by Javier Vallhonrat, February 2008 Alasdair McLellan In the , a sea-blue camisole top with sequined bandeau and vinyl , all by Emporio . 2, 3 — HRH THE DUCHESS OF CAMBRIDGE Archival C-type print by Josh Olins, January 2016 Courtesy of Javier Vallhonrat Photographed in Norfolk for the June 2016 centenary issue of British Vogue. 7 — HELENA BONHAM CARTER C-type print and silver gelatin print IN GLASS ELEVATOR Courtesy of Josh Olins 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 6 Archival pigment print 11 Courtesy of Tim Walker

1 4 9 — ‘ENCORE COUTURE!’ Ben Grimes-Viort 7 9 12 backstage at the Lido in Paris by Corinne Day, October 2003 2 An ostrich feather and rhinestone headdress for Dior Haute 5 10 13 Couture by amid the costumes for the Lido de 8 Paris Lido’s show C’est Magique!

Archival pigment print 1 — ‘ NEW WORLD’ Courtesy of the Estate of Corinne Day and Gimpel Fils, London 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- 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 and pullover by Azzedine Alaïa. Archival C-type print Courtesy of Norbert Schoerner

26 — 2010s 2010s — 27 3 — ‘SPORTING GODS’ Luke Campbell 7 — ‘SHE’S ECLECTIC’ Cara Delevingne by Peter Lindbergh, June 2012 by Glen Luchford, November 2012 The bantamweight boxer and his black eye: ‘I had a flu The multiplicity of the season – retro prints, handicraft dresses and jab on Tuesday, it took over my body and on Wednesday piecemeal separates – in the varied world of the car-boot sale. I sparred and got this’. Two months later he won a gold Poplin shirt and wool-twill trousers by Stella McCartney. medal at the London Olympics. Archival black and white bromide print Hahnemuhle photo rag baryta print Courtesy of Glen Luchford Studio Peter Lindbergh, Paris 8 — ‘NEO-GEISHA’ Guinevere van Seenus 4 — ‘COLD COMFORT’ Harleth Kuusik by Paolo Roversi, June 2011 by Craig McDean, September 2014 A twenty-first century take on the serene beauty of the traditional Stella McCartney’s asymmetric skirt and sweater courtesan. A strapless dress with cape from Kaal E Suktae, Korea. had ‘designs on ’ Vogue concluded. Archival pigment print Archival C-type print Courtesy of Paolo Roversi Courtesy of Craig McDean 9 — 5 — ‘DEAUVILLE RENDEZVOUS’ Marte van Haaster by Patrick Demarchelier, January 2009 and by Mario Testino, September 2012 The actress wore a front-ruffle dress by with On the coastal landscape of northern , the sweep pom-pom headband by Ryan Stiles for Piers Atkinson. of the Belle Époque in Op-art silk-suiting and embellished Archival black and white bromide print Gladstone bags by . Courtesy of Patrick Demarchelier, Paris Archival C-type print Courtesy of Mario Testino 10 — ‘LIFE THROUGH A LENS’ Suvi Koponen by Glen Luchford, April 2014 6 — ‘TO RUSSIA WITH LOVE’ A homage to the freewheeling style of Linda McCartney. by Mario Testino, May 2008 Koponen wears a T-shirt and denim skirt from the late Wearing rabbit ears and sunglasses by , Natalia photographer’s collection. Vodianova returned to her homeland on a fundraising mission Archival black and white bromide print for her children’s charity. 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 2000s racing silks by Bella Freud. ‘These are the clothes I am Vogue first established its website in 1996, positioning itself for most comfortable in’, she told Vogue. the digital future. Twenty years later, internet-based fashion films have found their place along with the instant sharing of electronic Archival pigment print images; all enhancing the magazine’s traditional content. Courtesy of Tim Walker Photography’s importance to Vogue shows no sign of diminishing, nor its dialogue with the key cultural figures 12 — ALEX TURNER AT CAMDEN LOCK of the time. Many of today’s photographers retain an insider’s by Alasdair McLellan, June 2012 knowledge of Vogue’s history while leaving their own The musical architect of the Arctic Monkeys would shortly play imprimatur upon it, most significantly Mario Testino and with his band at the opening ceremony of the Olympic Games. Tim Walker. ‘What Vogue did made sense to me,’ Walker has observed, ‘because it dealt with fantasy and the magical. Archival black and white bromide print As I studied its archive I started really to understand photography.’ Courtesy of Alasdair McLellan Others, such as Alasdair McLellan and Glen Luchford, promote a visual language of gesture and stance that owes more to the 13 — ‘TALES OF THE UNEXPECTED’ Karen Elson familiarity and experience of real life. and crocodile by Tim Walker, December 2008 On its very first page, Vogue had promised ‘really and truly, ‘Never smile at a crocodile,’ warned Vogue, ‘unless, of course, such amazing things are going to happen to you that you you are wearing Giles’s blood-curdling red silk dress.’ would never believe them, unless you saw them in Vogue’. As the magazine moves into its second century, the promise Archival pigment print and the expectation remain undimmed. Courtesy of Tim Walker

30 — 2010s 2000s — 31 Starting below 4 — BORIS JOHNSON AT THE OLYMPIC PARK the 2000s signage: 5 by Henry Bourne, April 2012 A rare beast, considered Vogue, ‘a politician known as much for his ready wit as for his policies’. Behind him 3 6 Anish Kapoor’s 115 metre Arcelor Mittal Orbit. 1 Archival C-type print 7 Courtesy of Henry Bourne 2 4

5 — ‘FASHION PANTOMIME’ 1 — ‘BRIGHTON ROCK’ Erin O’Connor, Jacquetta Wheeler and Lily Cole by Alasdair McLellan, November 2010 by Tim Walker, December 2004 ‘I went to Brighton recently,’ she told Vogue, ‘I love that tiny train For Vogue’s Christmas pantomime, Erin O’Connor that runs along the seafront.’ Strapless organza dress by Valentino. wears , Jacquetta Wheeler wears David Fielden and Lily Cole, Rochas. Archival black and white bromide print Courtesy of Alasdair McLellan Archival pigment print Courtesy of Tim Walker 2 — ‘SOMEWHERE GIRL’ Andreea Diaconu at Canvey Island by Glen Luchford, November 2013 6 — ‘ISELIN, 2010’ by David Sims, October 2010 ‘Tugboats are famed for their simplicity and steeliness’, Against the rugged Cornish landscape, a sheepskin cape by said Vogue, ‘’s cracked patent leather day dress Céline. carries the same bounty’. Archival pigment print Archival black and white bromide print Private Collection Courtesy of Glen Luchford 7 — KATE MOSS AND WHITE STALLION 3 — ‘STONE AGE’ Lara Stone in Carlton House Terrace, by , October 2001 London by Mario Testino, December 2009 Kate Moss styled by Stella McCartney – with fashion She is the embodiment of beauty today’, opined Mario Testino of at a minimum. his model in a crinoline gown by . Archival C-type print Archival C-type print Nan Goldin/Matthew Marks Gallery, New York Courtesy of Mario Testino

32 — 2000s 2000s — 33 Wall to the right: 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 1 of ‘Unbelievable Fashion’. 4 Hand-coated pigment print (printed 2015) 7 9 Courtesy of Nick Knight and SHOWstudio 2 5 4 — IN LONDON 8 10 by Corinne Day, March 2000 6 3 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 Archival C-type print by Mario Testino, February 2002 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 5 — ‘CHOCKS AWAY!’ and fighter that he often wears in the garden. by Tim Walker, March 2009 Archival C-type print A characteristically inventive scenario by the photographer Courtesy of Mario Testino to illustrate the season’s military-inspired fashion. Linen bustier dress by Giambattista Valli. 2 — ‘TRAIL BLAZERS’ Daria Werbowy in Archival pigment print by Mario Testino, March 2008 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. 6 — ‘BELLE DE JOUR’ Archival C-type print by Mario Testino, October 2002 Courtesy of Mario Testino 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 On wall opposite 2000s signage: At twenty-five, the leading lady of stage and screen was already a showbusiness veteran, having asked her parents for an agent at Vogue’s promotion of all that is new in the world of art starts the age of three. Crêpe-de-Chine dress by . with its earliest issues. In October 1916 it showcased the wartime paintings in the quasi-Cubist style of C.R.W. Nevinson, which Archival C-type print made his reputation. Following on, it would introduce readers to Courtesy of Mario Testino the drawings of Jean Cocteau and Picasso, the stage designs of Sonia Delaunay, the photograms of and it announced 8 — ‘GEMMA, 2004’ by Nick Knight, September 2004 the Bauhaus at the moment of its formation. Play to the crowd in bright slinky jerseys, metallic fabrics and In more recent times, Vogue has explored a relationship stunning digital prints.’ Vivid fuchsia dress by Jil Sander. with contemporary artists. In 2000, it invited Jake and Dinos Chapman, , Gary Hume, Sarah Morris, Hand-coated pigment print (printed 2015) and Sam Taylor-Wood to represent Kate Moss – the ultimate Courtesy of Nick Knight and SHOWstudio Vogue icon – in any way they chose. Vogue has occasionally invited artists to undertake the role of ‘guest fashion editor’, 9 — DAME among them Americans Nan Goldin and . by Tim Walker, October 2009 This self-portrait of the artist as a clown is the result of such a collaboration. ‘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. ‘WHAT LIES BENEATH’ by Cindy Sherman, June 2003 Archival pigment print Courtesy of Tim Walker 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 10 — ALEXANDER McQUEEN by John Galliano. by Tim Walker, October 2009 Chromogenic colour print ‘Alexander McQueen’, observed Vogue, ‘is obsessed Collection Glenn and Amanda Fuhrman NY, with , death and religion’ and ‘respects no limits to Courtesy the FLAG Art Foundation what a can be’. Archival pigment print Courtesy of Tim Walker

36 — 2000s 2000s — 37 Starting below the 1990s signage: 1990s BROKEN GLAMOUR 5 8 Vogue’s cover for January 1990, heralding the new decade, was 3 1 photographed by Peter Lindbergh. It featured the most dazzling members of the movement: Naomi, Cindy, Linda, 9 Tatjana and Christy were the living embodiment of the billion- 2 4 6 7 dollar power of the fashion industry. Then the outlook changed. In 1993 journalist Marie Colvin revisited post- Baghdad to provide a depth of reportage 1 — ‘In Bonnard’s Bathroom’ unseen in Vogue since 1945. Coverage was given to further by Sarah Moon, February 1998 topics of the zeitgeist: homelessness, political correctness, On the eve of a Tate retrospective of Bonnard’ the environment. evocative work, Sarah Moon paid photographic tribute On the fashion pages, the naturalistic photographs of Corinne Archival colour pigment print Day, Craig McDean, David Sims and Juergen Teller heralded Michael Hoppen Gallery a new sensibility. Together they had come to prominence in the style magazines of the early decade, but their aesthetic was individual and influential. 2 — DIANA, PRINCESS OF WALES by Patrick Demarchelier, December 1990 The renaissance of ‘high glamour’ in response was inevitable. Nick Knight consolidated his position as an outstanding British The most recognizable woman of her time, much photographed fashion photographer. His peer, Mario Testino, recalled for for Vogue from her early years Vogue the verve of his predecessors Cecil Beaton and Modern bromide print Norman Parkinson. Courtesy of Patrick Demarchelier, Paris One name gained currency throughout the decade. Kate Moss’s first cover in 1993 was as the typical ‘London Girl’. By the turn 3 — ‘NADJA, 1994’ by Nick Knight, March 1994 of the decade she was an international phenomenon. The other Vogue’s ‘Platinum Blonde Powerhouse’, five-foot-eleven-and-a- figure who dominated this decade, as she had the previous, half tall, with legs measuring 45 inches, wears was Diana, Princess of Wales; perhaps the most photographed mini-dress by Yohji Yamamoto. woman of the twentieth century. Hand-coated pigment print (printed 2015) Courtesy of Nick Knight and SHOWstudio

38 — 1990s 1990s — 39 4 — ‘HEAVENLY BODIES’ 8 — AZZEDINE ALAÏA IN HIS PARIS STUDIO Naomi Campbell as a Dionysian handmaiden by Snowdon, October 1990 by Herb Ritts, December 1990 ‘The man who loves women dresses the female form better’, Campbell wears a draped bikini bottom by Norma Kamali and observed Vogue, in his atelier with his dog crown of wreathed autumn leaves. Patapouf and family. Archival black and white silver gelatin print Modern C-type print from original colour transparency Courtesy of Herb Ritts Foundation, 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. Left to right: from Britain, Naomi Campbell; from Canada, Linda Hand-coated pigment print (printed 2015) Evangelista; from , Tatjana Patitz and from the United Courtesy of Nick Knight and SHOWstudio States, Christy Turlington and Cindy Crawford. Hahnemuhle photo rag baryta print 6 — AT HOME IN LOS ANGELES Studio Peter Lindbergh, Paris by Herb Ritts, May 1991 Wearing a ballet tutu by Gamba, the actress dances in the garden of the home she then shared with . Opposite wall, left to right:

Archival black and white silver gelatin print ‘KATE, 1998’ by Nick Knight, June 1998 Courtesy of Herb Ritts Foundation, Los Angeles As London swung again, Vogue celebrated ‘Cool Britannia’, the 1990s boom in British arts which for 7 — ‘GUINEVERE, 1996’ by David Sims, March 1996 Vogue, meant a special issue marking British creativity. An understated, strapless black evening dress Hand-coated pigment print (printed 2015) by Yohji Yamamoto. 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 Wall to the right- grid of photographs: By Patrick Demarchelier, February 1992 Jasper Conran designed the costumes for a revival of ‘ANGLO-SAXON ATTITUDE’ , inspired in part by Irving Penn’s flower by Steven Meisel, December 1993 photographs, which had appeared in Vogue in the 1970s. ‘English roses wearing clothes that sum up London’s Modern silver gelatin print individualism and anarchic sense of fashion’. Courtesy of Patrick Demarchelier, Paris’ Vintage bromide prints Courtesy of Steven Meisel Studio, New York ‘SEND IN THE GOWNS’ Linda Evangelista by Patrick Demarchelier, October 1991 Top to bottom, left to right: A rhinestone encrusted silk crepe dress with lilac and Bella Freud in Bella Freud peppermint silk taffeta opera coat, both by Versace. Stella Tennant in Jennifer Jones and Steven Kinkee Archival C-type print from original colour transparency Honor Fraser in Vivienne Westwood The Condé Nast Archive, London Honor Fraser in Vivienne Westwood in Helen Storey DAVID AND by Juergen Teller, March 1999 Bella Freud in Bella Freud She was then one fifth of the , the biggest girl Stella Tennant in Lainey Keog band ever, he probably his country’s best-known football player. Stella Tennant in Alexander McQueen Together, ‘the most joyously conspicuous consumers in and Plum Sykes in Jennifer Jones the Western world’. Stella Tennant in Owen Gaster and C-type print from colour negative Courtesy of Juergen Teller 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: by Carter Smith, August 1999 The star of Ten things I Hate About You (1999) ‘YOUNG CINEMA’ explained to Vogue ‘I’m from , I understand by Albert Watson, March 1996 about taking care of my body.’ ‘You can’t help staring at Jude Law. Like some kind of radiant, Vintage bromide print emerald-eyed pixie’s, his Puck-meets-punk demeanour is The Condé Nast Archive, London utterly compelling’.

Vintage colour C-type print ‘LONDON GIRL, LONDON STYLE’ The Condé Nast Archive, London Kate Moss by Corinne Day, March 1993 The first Vogue cover with Kate Moss. Fashion: Chanel ‘LA DAME MASQUÉ’ Nadja Auermann by , October 1991 Vintage colour C-type print The Condé Nast Archive, London Mask with feather ears by Philip Treacy. Vintage bromide print ‘UNDER-EXPOSURE’ Kate Moss The Condé Nast Archive, London by Corinne Day, June 1993 ‘She was just this cocky kid from ’, recalled Day, HUGH GRANT by Julian Broad, June 1994 adding, ‘she wasn’t like a model, but I knew she was going On the set of Four Weddings and a Funeral, the then highest- to be famous’. grossing British film launched the career of its floppy-haired leading man of impeccable comic timing Fashion, left to right: Vintage bromide print Janet Reger and Liza Bruce The Condé Nast Archive, London Liza Bruce and Hennes Hanro ‘COUTURE’S BACKBONE’ Carmen Hawk Vintage colour C-type prints by Craig McDean, October 1996 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 From left to right around the room, starting below the 1980s signage: 1980s SPEED OF LIFE 1 — ‘THE ROMANCE OF LACROIX’ by Patrick Demarchelier, October 1987 Margaret Thatcher’s premiership defined the decade, standing for In its inaugural year, observed Vogue, the house of Lacroix’s individualism, self-advancement and achievement. The downside: ‘irreverent spirit spurred everyone on to new heights of lively, a displaced underclass and a rise in urban poverty. The number of short and seductive’. millionaires living in the UK doubled while unemployment climbed to Depression-era levels of the 1930s. Archival C-type print from original colour transparency The Condé Nast Archive, London 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 2 — ‘THE QUALITY OF LITHE’ Bonnie Berman and provocative surroundings.’ His hopes were mostly fulfilled, by Patrick Demarchelier, May 1983 as this decade was synonymous with image-consciousness. ‘We pursued a sort of acrobatic, healthy look’, recalled Vogue devoted pages of spectacular photography to aspirational the photographer of his shoot in Barbados, ‘we made lifestyle images from Patrick Demarchelier, Herb Ritts and Albert our own props, rope and tape stored on the boat to construct the Watson. Bruce Weber brought a new naturalism set against the ’. American landscape. Appointed to modernise Chanel in 1983, Archival C-type print from original colour transparency revisited its glorious past. A new wave of Japanese The Condé Nast Archive, London 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 3 — ‘A LA RECHERCHE DU TEMPS BARDOT’ couture. And the word ‘designer’ was pervasive, applied to jeans, in Paris by Herb Ritts, October 1989 underwear, mineral water, chocolates, restaurant, food, hair, Schiffer wears beaded Lacroix. What could be more Parisian, furniture and earrings. 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 7 — ‘CALLAS-THENICS’ Tatjana Patitz by Peter Lindbergh, February 1989 by Herb Ritts, July 1988 Futuristic motifs and industrial marked out Lindbergh’s ‘The mood is sultry,’ observed Vogue, ‘the diva dressed early photographs had dramatic force. ‘My heavy German in uncompromising fashion’ in sheath dress with strapless Expressionist side’, he said, here seen in a homage to Fritz Lang bra bodice by Azzedine Alaïa. at Pinewood Studios. Cutaway swimsuit by Emilio Cavallini Bromide print (printed later) Hahnemuhle photo rag baryta print Courtesy of Herb Ritts Foundation, Los Angeles Courtesy Studio Peter Lindbergh, Paris 8 (End wall) — ‘COQUE FEATHERS’ Christy Turlington 5 — BETH CHATTO’S GARDENING BOOTS, ESSEX by Patrick Demarchelier, December 1987 by Tessa Traeger, December 1984 This arrangement of bristling quills on a silk band, part of suit The celebrated plantswoman’s boots and collecting basket designed by Antony Price, was perfect, Vogue surmised, for any amid the funnel shaped blooms of Colchicum ‘Rosy Dawn’. ‘coqtail party’. Archival C-type print from original colour transparency Modern C-type print from original colour transparency Courtesy of Tessa Traeger The Condé Nast Archive, London

9 — ‘FILMING AFTER A FASHION’ 6 — ‘THE NEW RAVE’ Talisa Soto by Bruce Weber, July 1983 by Albert Watson, August 1984 On the back lot at Culver Studios, Los Angeles, with a hired help Model (later actress) Talisa Soto wears Bodymap’s starfish of costumed heroes, the model wears sequinned gauze over a print and striped loose cotton lycra top and skirt with ‘fin’ panel white t-shirt and skirt by Zoran. and matching square hat. Archival C-type print from original colour transparency Archival pigment print from original transparency The Condé Nast Archive, London Courtesy of Albert Watson

48 — 1980s 1980s — 49 10 — MARGARET THATCHER 13 — ‘GILT-LADEN’ Naomi Campbell IN 10 DOWNING STREET by Patrick Demarchelier, December 1987 by David Bailey, October 1985 The image for Naomi Campbell’s debut cover shows her wearing After the General Election of 1987, Mrs Thatcher became a shimmering dress by Chanel. There would be many more in the first Prime Minister since the nineteenth century to serve her journey from bright-as-a-button south London teenager to three consecutive terms. supermodel. Archival C-type print from original colour transparency Archival C-type print from original colour transparency The Condé Nast Publications Ltd, London The Condé Nast Archive, London

14 — ‘IN AN ENGLISH GARDEN’ Victoria Lockwood 11 — JOHN GALLIANO by Bruce Weber, December 1984 (unpublished version) by Peter Lindbergh, February 1988 ‘A style that could grow on you’, ventured Vogue of model Three years out of college, Galliano had just been crowned Lockwood in a sheath dress by Victor Edelstein. British Designer of the Year for the first time, an accolade he would win on three further occasions. Archival C-type print from original colour transparency The Condé Nast Archive, London Hahnemuhle photo rag baryta print

Courtesy Studio Peter Lindbergh, Paris

12 — 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: ‘UNDER WESTON EYES’ by Snowdon by Bruce Weber, December 1982 April 1983 (unpublished version) This homage to the American photographer Edward Weston’s The actor who had received critical acclaim for his role in way of seeing and way of life, starring Talisa Soto among others, the stage play Another Country was about to play Lancelot was shot in and around Weber’s home in Long Island in Clive Donner’s Arthur the King. Vintage bromide prints Vintage bromide print The Condé Nast Archive, London Courtesy of Snowdon

‘NEW LUMINARIES’ and ‘NEW HATTINESS’ SALMAN RUSHDIE AT HOME IN LONDON by Paolo Roversi by Snowdon, December 1982 Roversi’s lighting and Vogue’s styling gave his large-format Rushdie was a little known novelist before Midnight’s Children Polaroid prints an almost painterly quality. won the Booker Prize for 1981. All 10 x 8 Polaroid prints Vintage bromide print The Condé Nast Archive, London The Condé Nast Archive, London Fashion, left to right: MATT DILLON IN HOLLYWOOD ‘NEW LUMINARIES’ April 1986 by Bruce Weber, June 1983 and Bermans & Nathans As a leading teen idol, Dillon specialised in troubled characters Thierry Mugler; . with unstable emotions and high levels of disaffection. Vintage bromide print ‘NEW HATTINESS’ November 1985 The Condé Nast Archive, London Kirstin Woodward for Karl Lagerfeld. An out-take from the sitting, the milliner remains unidentified. ‘THE RISE OF THE PARIS COUTURE’ Tatters and The Hat Shop. Christy Turlington in La Coupole, Paris and Maria Killery. by , April 1988 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 1970s as a travel writer. He was also an acclaimed novelist, PRESSURE DROP art expert and connoisseur. What had been a golden age of post-war prosperity stalled Vintage bromide print when the economy was hit by crippling inflation. Industrial unrest The Condé Nast Archive, London led to a three-day week and, with the newly introduced decimal currency, panic buying. STEVE CRAM by Paolo Roversi, December 1985 Vogue commissioned novelist J.G. Ballard to provide a glimpse In the summer of 1985, the ‘Jarrow Arrow’ had set three of the future: ‘where people will never meet at all, except on the new world records in 20 days, becoming the fastest man TV screen.’ The hold over the nation that television had acquired over 1500m, the mile and 2000m. was unprecedented. At Christmas 1977, The Morecambe and Wise Show attracted nearly 28 million viewers. 10 x 8 Polaroid print The Condé Nast Archive, London Vogue’s fashion pictures reflected these disjointed times of sanitised entertainment and dystopia. The photographs of were confrontational, ’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- 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, 3 — ‘IS BAD TASTE A BAD THING?’ Gayla Mitchell starting right of the 1970s signage: by Peter Knapp, June 1971 An answer attempted in hot-pants in Hyde Park 1 2 by Electric Fitting.

CASE Modern C-type print from original colour transparency The Condé Nast Archive, London 3 4 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 5 found herself floating in the swimming pool. Fashion by Nettie Vogues and Christian Dior.

1 — ‘IN SUBURBIA’ Louise Despointes Modern C-type print from original colour transparency by Steve Hiett, November 1976 The Condé Nast Archive, London In the hottest summer of the century, a turquoise mohair skirt and mohair and wool waistcoat by Juliet Dunn. 5 — ‘SPACE BETWEEN SEA AND SUN’ Apollonia van Ravenstein by Norman Parkinson, July 1973 Modern C-type print from original colour transparency The Condé Nast Archive, London In ’s house, Barbados, a white crêpe de chine shirt and skirt by Yves Saint Laurent. 2 — ‘WHAT’S IN A DIAMOND?’ Modern C-type print from original colour transparency by Guy Bourdin, October 1976 Norman Parkinson Ltd / Courtesy Norman Parkinson Archive Rose chiffon and lace camiknickers by Janet Reger. Diamonds by Swarovski. 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 At their peak, Eric Morecambe (right) and Ernie Wise (left) ‘A SONG OF SPRING’ Suzanne Moncur were Britain’s most famous comic entertainers. Their 1977 by Sarah Moon, April 1972 ‘Christmas Special’ attracted 27.5 million viewers. On the Paris streets, Vogue’s Pierette wears a blouse Vintage bromide print and pantaloons by Sheridan Barnett. The Condé Nast Archive, London Vintage bromide print The Condé Nast Archive, London ‘THE FIRST DAYS OF SUMMER’ Louise Despointes and Donna in Paris by Sacha, April 1972 ‘NIGHTS OF PARIS’ by Helmut Newton, January 1974 Dresses by Chloé and . Jordan was Echoing the Paris of Brassaï, the Hotel Crillon forms muse to Antonio Lopez, then fashion illustrator du jour. a setting for print dresses in two layers with V-shaped Vintage bromide print backs by Yves Saint Laurent. The Condé Nast Archive, London 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 Organza wrap and satin trousers by Cecil Beaton, December 1970 by Saint Laurent Rive Gauche. The then girlfriend of David Bailey in an black Vintage bromide print panne velvet suit in the ‘winter garden’ of Beaton’s home. The Condé Nast Archive, London Vintage bromide print The Condé Nast Archive, London ‘YSL? WHY, YES!’ Cathy Quirk and Carrie Nygren by Guy Bourdin, September 1975 PETER SELLERS by Snowdon, April 1973 Black rubberised, kimono-shaped raincoats In The Optimists of Nine Elms, Sellers busked around London by Yves Saint Laurent. unrecognised but for a woman who said, ‘It’s Peter Sellers. Vintage bromide print You can tell by the nose.’ The nose was, in fact, false. 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 ‘BETWEEN YOU AND THE ELEMENTS’ Apollonia van Ravenstein by Arthur Elgort, October 1971 Against an equally austere inner urban backdrop, a sharply cut black gabardine coat by Tiziani. Vogue offered a fly-fronted quilted jacket with trench yoke and big collar by Saint Laurent. Vintage bromide print The Condé Nast Archive, London Vintage bromide print The Condé Nast Archive, London by Snowdon, August 1978 ‘Will Success spoil Martin Amis?’ asked Vogue. ‘He is now twenty- SIR by Snowdon, April 1974 eight. At last, perhaps, his age is no longer the most extraordinary Like Alfred Tennyson before him, the Poet Laureate was an thing about him’. Success was Amis’s third novel. unavowed populist. In the early 1970s he recorded albums Vintage bromide print of his verse set to music. The Condé Nast Archive, London Vintage bromide print The Condé Nast Archive, London IN PORTOBELLO ROAD by Snowdon, May 1971 (unpublished version) ‘PUNK: DANGER, STRANGER’ An influential work of the feminist movement, Greer’s Jordan [Pamela Rooke], Siouxsie and the Banshees The Female Eunuch was published in 1971. and the cast of Jubilee by , Johnny Rosza and Luciana Martinez, December 1977 Modern bromide print Courtesy of Snowdon 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 by Snowdon adornment and provocative non-vocal communication.’ September 1978 (unpublished version) Collage of photographs and Polaroid prints The singer and musician had completed his ‘’ The Condé Nast Archive, London trilogy of albums and was emerging from his ‘Thin White Duke’ phase. Vintage bromide print The Condé Nast Archive, London

60 — 1970s 1970s — 61 Interpretation reads from left to right, starting on the wall to the left of the signage: 1960s PULSE BEAT ‘EVENING LOOKS AND ALL THAT JAZZ’ Judy Dent by Brian Duffy,October 1961 Before London began to swing, the 1960s were overcast. Blouse by for Maxton and evening pants by John While the age of jet travel propelled Vogue fashion teams to Cavanagh. Background music supplied by ‘Highlife’ quintet the new locations, home-grown fashion pictures were arranged Koola Lobitos (the ‘Cool Cats’) led by Fela Kuti. against the phosphorescent-lit streets of new towns or bleak and rainswept moorland. Modern C-type print from original colour transparency The Condé Nast Archive, London 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 ‘FOCUS ON THE FACE’ Jean Shrimpton with mistrust. In William Klein’s photographs, the Jodrell Bank by Saul Leiter, August 1966 Observatory looked hulking and sinister. The new fashion An oblique and reflective beauty shot photography, which Klein epitomised, was hand-held and for Max Factor make-up. confrontational, its roots in the documentary photography of the streets. Archival C-type print from original colour transparency The Condé Nast Archive, London 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 Large canvas print: was his relationship with model Jean Shrimpton, lived out through Vogue’s pages, that set him apart from his peers. , PETER SCHLESINGER and MAUDIE JAMES by Cecil Beaton, December 1968

Hockney is seen working on the double portrait, 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 signage- Wall to the right right of 1960s signage- grid of photographs: grid of photographs:

‘TOP COATS’ Jean Shrimpton and Grace Coddington by David Bailey, September 1966 1 2 3 Vintage bromide prints 5 4 7 The Condé Nast Archive, London 6 8 10 Top to bottom, left to right: 9 12 11 Grace Coddington in Bob Schulz and Otto Lucas 13 14 17 15 Grace Coddington in Fortnum & Mason 16 and Sophie Mirman Jean Shrimpton in Liza Spain and Otto Lucas 1 — IN FAR FROM THE MADDING CROWD Grace Coddington in Jean Patou by Terence Donovan, July 1966 Grace Coddington in The actor was photographed on location for Far From the Jean Shrimpton in Julian Robinson and Otto Lucas Madding Crowd (1967) and associated, observed Vogue, ‘with masses of “in” type publicity that had been started Grace Coddington in Bagatel and Sophie Mirman and hadn’t stopped since Time pulled the plug out on the Jean Shrimpton in Sylvia Mills and Graham Smith Swinging London Scene’. Grace Coddington in Tony Armstrong and Otto Lucas Vintage bromide print Jean Shrimpton in Wallis The Condé Nast Archive, London Grace Coddington in Neatawear and Sophie Mirman 2 — ‘SPACE-AGE SETTING’ Maggi Eckardt at Jodrell Bank Jean Shrimpton in Harvey Gould by William Klein, July 1960 Jean Shrimpton in Peter Robinson and Herbert Johnson At Jodrell Bank in the Cheshire landscape, ‘there’s an atmosphere Grace Coddington in Harvey Gould and Kangol of isolation. At set moments through the day the warning squawk of tracking hour breaks the silence.’ Leather coat by Deliss with Jean Shrimpton in Hartnell hat by Reed Crawford Vintage bromide print The Condé Nast Archive, London

64 — 1960s 1960s — 65 3 — DONYALE LUNA ON THE SET OF QUI ÊTES- 7 — ‘PATTERNS IN THE PARK’ MOUCHE VOUS POLLY MAGGOO? by William Klein, October 1966 by Barry Lategan, September 1969 Taken on the set of Klein’s film of the same name, a parody of the A gentle intrusion into daily life in Regent’s Park. fashion world. Wool shirtdress by Sally Grant for Emcar with boots by Sacha. Modern bromide print The Condé Nast Archive, London Vintage bromide print The Condé Nast Archive, London 4 — ‘ZEST: THE FASHION WORD FROM ’ Tamara Nyman by Ronald Traeger, October 1963 8 — ‘CLOTHES FOR COUNTRY LIVING’ Ros Watkins by Frank Horvat, October 1960 Tamara Nyman would became attached to Middle , marrying Prince Albrecht of Liechtenstein. Alpine sweater by On the streets of Bradford, the centre of the wool trade, Lana Peruz, trousers by Resi Hammerer and hat by Dolores. a black and white tweed coat and dress by Sumrie. Vintage bromide print Vintage bromide print Courtesy of Tessa Traeger, The Condé Nast Archive, London Keeper of the Ronald Traeger Archive 9 — ‘HIGH VOLTAGE’ Katherine Pastrie 5 — ‘NIGHT TIME, NEW TEMPO’ Nicole de Lamargé by Helmut Newton, November 1966 and Agnetta Darren by Ronald Traeger, November 1965 Shocking red kidskin with racoon ruffles over Geometric mini-dresses on the London streets by John Bates. a mini-dress edged in wool by Bonnie Cashin. Vintage bromide print Vintage bromide print The Condé Nast Archive London The Condé Nast Archive, London

6 — ‘OCEAN GOING SETTING’ Maggi Eckardt 10 — MARISA BERENSON OUTSIDE by Don Honeyman, July 1960 VOGUE’S OFFICES by David Bailey, August 1968 The RMS Windsor Castle was briefly the largest liner In Hanover Square, in cavalry twill and chinchilla coat built in Britain. Satin evening dress with three-tiered skirt by Ginala with beret by Otto Lucas. Berenson, a favourite by Susan Small. of Vogue’s photographers, was the granddaughter of . Vintage bromide print The Condé Nast Archive, London Vintage bromide print The Condé Nast Archive, London

66 — 1960s 1960s — 67 11 — ‘FLYING IN NEW FORMATION’ Willy van Rooy 14 — ‘DRESSING SOFT’ Donna Mitchell by Helmut Newton, December 1967 by Bob Richardson, September 1966 A Hitchcock-ian pastiche to illustrate the season’s new furs. Angora dress by Chic of Hampstead and cloche hat by Herbert Mongolian lamb and black kid windcheater by Young Jaeger. Johnson. Mitchell and Richardson made a memorable team. ‘They said she looked drugged and beaten,’ recalled Richardson. Vintage bromide print ‘I thought she looked like a fallen angel’. The Condé Nast Archive, London Vintage bromide print The Condé Nast Archive, London 12 — MARY QUANT AND ALEXANDER PLUNKET GREENE by Terence Donovan, July 1962 15 — ‘PEOPLE WHO ARE JUST PEOPLE’ Popularly, though probably inaccurately, the originator of the by Peter Laurie, December 1961 mini-skirt, Quant had started off well before the ‘’. Tweed dress designed by Mary Quant for Bazaar and Plunket In the year the Berlin Wall was erected, the symbol Greene’s suit by Antony Corbett. of disarmament chalked onto a jacket. Vintage bromide print Vintage bromide print The Condé Nast Archive, London The Condé Nast Archive, London

13 — ‘YOUNG IDEA WITH A MAXIMUM OF MINIS’ 16 — ‘CRAWLEY NEW TOWN’ Jean Shrimpton by Don Honeyman, February 1962 by Terence Donovan, November 1962 ‘British to the back wheels’, reported Vogue, ‘Minis are all An early ‘advertorial’ for Hoover taken in Crawley, one of over the country, bowling through traffic blocks, in and out the first wave of new towns created to alleviate London’s of parking spaces…’ Chocolate brown suède two-piece housing and employment problems. by Swedish . Modern C-type print from original colour transparency Vintage bromide print The Terence Donovan Archive, London The Condé Nast Archive, London 17 — 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 & 1940s 1950s THE ART OF PEACE

Please see provided pickup Vogue was considered to be vital to the morale of the home front. interpretation for all information. 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 IN THE AIRCRAFT RECOGNITION ROOM ‘ENEMY SKELETONS’ by Cecil Beaton, July 1941 by Cecil Beaton, November 1942 The walls are decorated with every type of warplane, friendly German tanks at Sidi Rezegh, Libya. During the course of a and hostile, ‘bright and swooping as dragonflies’ month Sidi Rezegh, south of Tobruk, changed hands five times. Modern bromide print Vintage bromide print Imperial War Museums National Portrait Gallery, London ‘WINGED SQUADRONS’ by Cecil Beaton, July 1941 ‘FASHION IS INDESTRUCTIBLE’ by Cecil Beaton, September 1941 ‘For what bomber can enjoy finding himself, in an arctic temperature, flying through the enemy’s searchlight belt while A suit by Digby Morton in the ruins of Middle Temple. every piece of metal melted down from all the statues and Modern bromide print from original negative railings is hurled up at him?’. Victoria and Albert Museum, London Vintage bromide print The Condé Nast Archive, London HOME DEFENCE IN HAMPSTEAD by Lee Miller, 1941 (unpublished) ‘ROCOCO RUBBLE’ A fire mask and eye shield worn for protection against by the U.S. Army Signal Corps, September 1945 incendiary bombs. A defiant last stand at the University of the . Modern bromide print from original negative Vintage bromide print The Lee Miller Archives The Condé Nast Archive, London

THE BERGHOF ON FIRE by Lee Miller, July 1945 ‘WAR IN THE EAST’ CHINESE COMMANDOS At Berchtesgaden, Hitler’s ‘Eagle’s Nest’ redoubt, was set ablaze by Cecil Beaton, September 1945 by retreating SS troops. In the remoter reaches of Free China, Beaton wrote ‘Although the Vintage bromide print average age of the troops is said to be The Lee Miller Archives twenty, most appeared to be boys’. Vintage bromide print The Condé Nast Archive, London

72 — 1940s 1940s — 73 THE DAUGHTER OF THE To the right, either side of entrance: BÜRGERMEISTER OF LEIPZIG ‘BRIGHT FASHION FOR DARK DAYS’ by Lee Miller by ‘Eric’ (Carl Erickson), June 1944 September 1945 Floral hats by Reine, Walter Florell and Capri The young woman, Regina Lisso, in the German make two halves of a double page spread. Red Cross armband suicided as the Allies closed in. Watercolour and ink on paper Lee Miller noticed her ‘exceptionally pretty teeth’. The Condé Nast Archive, New York Modern bromide print from original negative The Lee Miller Archives Wall to the right: With the end of war in 1945, Vogue readjusted to the new mood. Wall to the right: Victory heralded a slow domestic recovery. Vogue celebrated fashion’s ‘New Look’, an extravagant response to the restrictions CHRISTIAN DIOR by Clifford Coffin,April 1947 of wartime. From a front row seat at the 1947 collections, the magazine declared, ‘Christian Dior is the new name in Paris. At his first collection. ‘I was conscious of an electric tension,’ His house was newly decorated, his ideas were fresh and put recalled fashion editor Bettina Ballard, ‘People who were not yet over with great authority, his clothes were beautifully made, seated waved their cards in a frenzy of fear that someone might essentially Parisian, deeply feminine…’ cheat them of their rights.’ Vintage bromide print ‘RICH COLOUR TRENDS’ Barbara Goalen The Condé Nast Archive, New York by Cecil Beaton, October 1948 In the Vogue Studio the celebrated British model wears a dress ‘THE NEW LOOK’ by Clifford Coffin,April 1948 by Matilda Etches. A hound’s-tooth wool dress with an ‘envol’ back from Modern C-type print from original colour transparency an early Dior collection. 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 HENRI MATISSE AT THE VILLA RÊVE, VENCE IN MOROCCO by Clifford Coffin,June 1949 by Cecil Beaton, 1949 (published 1950) In his eightieth year the great French artist was at work on designs The younger of two American writers, one expatriate for Sainte Marie du Rosaire, a small chapel at Vence. and one visiting, shows off for the camera, mimicked by Modern C-type print from original colour transparency a young boy to his left. The Condé Nast Archive, New York Vintage bromide print The Condé Nast Archive, London ‘THE SECOND AGE OF BEAUTY IS GLAMOUR’ by Cecil Beaton, February 1946 AND PET SPARROWHAWK Dress of checked wool and bodice with red leather buttons by Clifford Coffin,December 1948 and with hat of red felt, all by Hartnell. Having traded a painting for a German Luger , Modern C-type print from original colour transparency the painter shot rats for his birds on the canal near The Condé Nast Archive, London Regent’s Park. Vintage bromide print PRINCESS CYRIL TROUBETSKOY The Condé Nast Archive, London by Clifford Coffin, December 1946 Married to an impoverished Russian aristocrat in exile, GORE VIDAL ON THE LEFT BANK, PARIS the princess models the latest winter overcoat from Balmain by Clifford Coffin,1949 (published later) on the banks of the Seine. The young American writer had just published Vintage bromide print his first book The City and the Pillar. The Condé Nast Archive, London Vintage bromide print The Condé Nast Archive, London ‘A CONVERSATION PIECE’ by Clifford Coffin,September 1948 CHRISTOPHER ISHERWOOD AT HOME IN SANTA Romantic evening dresses from the London collections, MONICA by , April 1947 from among others, Rahvis, Steibel and Hartnell. ‘Now and then he jumps from his chair,’ wrote Lynes of the Modern bromide print from original negative expatriate writer, ‘stares out of his window at the Santa Monica The Condé Nast Archive, London beach, then sits down again, folding his legs under him like a yogi.’ Vintage bromide print The Condé Nast Archive, London

76 — 1940s 1940s — 77 Starting on the left:

1930s CASE GLORIOUS TWILIGHT 5 In the years following the Wall Street Crash of 1929 expensive 4 entertainments faltered and Vogue advised: ‘If you have not lost money, then pretend you have’. Although Vogue covered 3 the stage, Hollywood was unavoidable: ‘inhabited by gods 2 and goddesses of beauty and very much like what one was told Heaven was like as a child’. 1 King Edward VIII and Mrs Simpson, later the brittle and elegant 6 Duke and Duchess of Windsor, exercised a similar fascination 7 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. 1 — MR & MRS HARRISON WILLIAMS IN PALM BEACH by Cecil Beaton, February 1937 George Hoyningen-Huene and his protégé Horst, both skilled in lighting, sought to portray clothes as they might be worn by Harrison Williams was then possibly America’s richest man; bringing everyday life into the studio. Contrasting with these sunlit his wife, Mona, a lifelong fixture of the ‘Best Dressed’ lists. arrangements, Vogue’s photographers readily embraced fashion’s Watercolour and gouache on blue paper plundering of . Courtesy of the Mona Bismarck American Center, Paris, France Society commentator Johnny McMullin returned from a visit to Berlin: ‘Why all this fuss about Hitler? No-one could be 2 — LADY ELIZABETH PAGET AS ‘THE LADY more commonplace. I am told he represents an idea, but I OF SHALOTT’ by Cecil Beaton, July 1936 can’t find out what.’ By 1939, as war in Europe unfolded, he and his magazine knew... 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 AT HOME, Case, left to right: REGENT’S PARK, LONDON by Cecil Beaton, 1936 (published later) ‘VARIETY IN SILHOUETTE’ Toto Koopman ‘She has the capacity to make afternoons amusing,’ by George Hoyningen-Huene, October 1934 said Beaton. ‘She reminds me of the neatest, newest Vogue’s ‘dark star’ of the 1930s, in a crêpe sheath dress with luggage and is as compact as a Vuitton travelling-case’. train by Augustabernard, had been a showroom model for Gouache on salmon pink paper Chanel and later a heroine of the Resistance. Private Collection Vintage bromide print The National Gallery of Canada, Ottawa. 4 — IN LONDON Gift of Rodney and Cozette de Charmoy Grey, Geneva, 1979 by Cecil Beaton, October 1936 Beaton included the actress in his highly subjective – and brave – list, ‘The Six Most Beautiful Women in by Edward Steichen, December 1932 Motion Pictures’. Velvet evening dress by Schiaparelli. ‘Joan Crawford and Modern bromide print from original negative Schiaparelli’s clothes are each sufficiently exciting alone’, The Condé Nast Archive, London considered Vogue, ‘but when combined the result is dramatic in the extreme.’ 5 — ‘MODERN TORSO’, Vintage bromide print by Arnold Genthe, August 1938 (taken c.1910) The Condé Nast Archive, New York This nude study conformed to Hellenic ideals of physical beauty that Vogue photographers Hoyningen-Huene and Horst, ‘FORESHADOWING FRINGE’ Louise Sheldon among others, much admired. by Cecil Beaton, December 1935 Vintage bromide print A sense of foreboding hangs over Vogue’s model, rooted Courtesy of Andrew Cowan 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 BARON ADOLPH DE MEYER by Peter Rose Pulham, September 1934 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 Vintage bromide print (despite his title being questionable). Private Collection Vintage bromide print The Condé Nast Archive, New York ‘A MIDSUMMER NIGHT’S DREAM’ by André Durst, June 1936 ‘FASHION FLASHES’ by Edward Steichen, June 1935 Chiffon dresses by Molyneux in a sylvan setting recreated in the Vogue studio and a convincing sense of impeding catastrophe. The compositional possibilities of the new modern architecture, with its sleek and uncluttered lines and white piqué dresses by Vintage bromide print Marjorie Castle. The Condé Nast Archive, New York Vintage bromide print The Condé Nast Archive, New York by Cecil Beaton October 1936 (unpublished version) ‘I LOVE YOU’ Lisa Fonssagrives In a chartreuse evening dress by Victor Stiebel, Vogue by Horst, August 1938 considered the actress to be ‘like a Persian gazelle in the dark studio forest of chains and planks’. In a tricorne ‘D’Artagnan’ hat by Suzy, Miss Fonssagrives, later wife to the Vogue photographer Irving Penn, signals Vintage bromide print ‘I love you’ in sign language. The Condé Nast Archive, New York Vintage bromide print The Condé Nast Archive, New York ‘HARLEQUIN GAMES’ by Erwin Blumenfeld November 1938 (unpublished version) LEE MILLER A playful surrealist-inspired tableau for two hats by Schiaparelli. by George Hoyningen-Huene, October 1931 Vintage bromide print Miller came to Vogue as a model, here in a dress by The Condé Nast Archive, New York 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 by Cecil Beaton, May 1930 MARGARET WHIGHAM by , August 1932 The expressive Austrian dancer and actress models a polka dot suit by Yvonne Carette. ‘You’re Mussolini. You’re Mrs Sweeney.You’re Camembert.’ went one version of Cole Porter’s ‘You’re the Top’. Vintage bromide print ‘Deb of the Year’, Margaret Whigham was later The Lee Miller Archives Mrs Charles Sweeney and then Duchess of Argyll. Vintage bromide print FRED ASTAIRE by André de Dienes, May 1939 Private Collection ‘The legend dances for us today, charmingly, gallantly.’ Performing a solo from his new film The Story of Vernon and Irene Castle, the THE MARQUISE DE LA TORRE epitome of pre-war male chic was seldom out of Vogue. AND MADAME MARTINEZ DE HOZ Vintage bromide print by Frères Séeberger, January 1930 The Condé Nast Archive, New York Two femmes du monde wear the season’s smartest coats. There was ‘none more chic’ considered Vogue. QUEEN ELIZABETH AT Vintage bromide print by Cecil Beaton, 1939 (published later) The Condé Nast Archive, New York ‘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.’ 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 6 — ROCOCO SCROLLWORK JACKET AND DRESS by Elsa Schiaparelli, Summer 1937 Cecil Beaton frequently photographed designer and This rococo scrollwork jacket and dress was originally owned artist Elsa Schiaparelli and her creations. He also took by Mrs Carol Dugdale (neé Timmis), a stylish British socialite, numerous photographs and sketches of Wallis Simpson who bought the outfit in London. This same model was chosen (Duchess of Windsor) and one of his sketches can be seen by the Duchess of Windsor for part of her wedding trousseau. on the opposite wall. Funded by the Heritage Lottery Fund (Collecting Cultures) Schiaparelli was at the height of her creativity in the 1930s and the Arts Council England/ V&A Museums and had a flair for memorable ‘artistic’ clothes, which were Purchase Grant Fund. popular with flamboyant clients, such as Marlene Dietrich. She is certainly one of the most celebrated fashion designers 2015.16 of the middle twentieth century, and one of the few outstanding women couturiers. 7 — DUCHESS OF WINDSOR, CHATEAU DE CANDÉ This outfit was chosen by the Duchess of Windsor for her by Cecil Beaton, June 1937 wedding trousseau. She was photographed by Beaton wearing Cecil Beaton photographed Wallis Simpson wearing the it the day before her wedding to the Duke of Windsor in May Schiaparelli outfit the day before her wedding to the Duke of 1937 and later in June that year. This photograph, which is shown Windsor at the Chateau de Candé, France in May 1937. alongside the outfit here, appeared in Vogue. It was clearly a favourite ensemble, and Beaton photographed This rare and dramatic Schiaparelli ensemble is a new addition her again in this more formal studio setting wearing the jacket in to Manchester City Galleries’ costume collection, which is one June 1937. The image beautifully illustrates a marriage between of the most important in the UK. Thanks to a substantial grant two of the most stylish figures of the 1930s. from the Heritage Lottery Fund, the Gallery is able to purchase Silver gelatin print high-end fashion, acquiring the couture that has defined the The Cecil Beaton Studio Archive at Sotheby’s 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. 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 5 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 1 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 2 guidance, both still looked to Paris. Vogue’s Editor Dorothy Todd (1916–17 and 1922–26) mixed 4 3 high- and low-brow culture with flair. shared pages with , Charlie Chaplin with . Case contents reads top to bottom, left to right. In the course of the decade, the highly-stylized photographs Case 1: of Baron Adolph de Meyer, the first professional fashion photographer, deferred to the modernism of Edward Steichen JOSEPHINE BAKER by George Hoyningen-Huene 1929 and Charles Sheeler. (unpublished version) In 1924, Vogue published the first photographs by Cecil Beaton, The American dancer and revue artist, a symbol of the ‘Jazz Age’, who, perhaps above all, would come to shape Vogue in the was a sensation of the Folies Bergère, Paris. This print belonged century ahead. He and the ‘’ gave vivid to the photographer Horst. expression to the fashionable life. Vintage bromide print Staley-Wise Gallery, New York Below the 1920s signage: by Hugh Cecil, April 1923 by Man Ray, October 1927 A society ornament, the daughter of the Duke of Rutland was described the scion of the Cunard shipping barely out of Vogue for the next half-century. line family as possessing a head ‘carved in crystal with green jade for eyes’. Vintage bromide print The Condé Nast Archive, New York Vintage bromide print Private Collection

88 — 1920s 1920s — 89 EDITH SITWELL AT RENISHAW HALL, DERBYSHIRE Case 2: by Cecil Beaton, 1927 (published later) VISCOUNTESS MAIDSTONE Beaton found natural sitters in the two Sitwell brothers, Osbert and by E.O. Hoppé, November 1916 Sacheverell, but the unconventional looks of their sister, the poet The heiress to a Philadelphia banking fortune, who had married Edith, here at their family home, entranced him. into the British aristocracy, the Viscountess gave much of her time Vintage bromide print to war work. From the magazine’s third issue, this is one of the National Portrait Gallery, London earliest known extant Vogue prints. Vintage bromide print ‘SOAP SUDS’ Baba Beaton, Wanda Baillie-Hamilton Terence Pepper Collection and Lady Bridget Poulett by Cecil Beaton, 1929 (published later) Three ‘Bright Young Things’ en fête and arranged as soap bubbles. HELEN LYONS by Baron Adolph de Meyer, April 1922 Vintage bromide print One of the stars of Irving Berlin’s Music Box Revue (1921). The Condé Nast Archive, New York Her backlit diaphanous dress by Boué Soeurs, known for their skill with lace was, for Vogue, risqué. ALDOUS HUXLEY Vintage bromide print by Charles Sheeler, 1926 (published later) 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 ‘SUMMER BRINGS THE HAT’ later its chief book reviewer. by Baron Adolph de Meyer, June 1918 Vintage bromide print Vogue’s first professional photographer, de Meyer was put under The Condé Nast Archive, New York 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- 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 AS ‘THE DIVINE SARAH’ by Dorothy Wilding, June 1927 (unpublished version) by Cecil Beaton, April 1929 From 1927 until 1933 at Wimbledon, tennis player – and The American actress relished comparison to European epitome of sporting chic – Moody did not lose a single set. stars such as Eleanora Duse and Sarah Bernhardt. Vintage bromide print Vintage bromide print National Portrait Gallery, London. The Condé Nast Archive, London Given by the photographer’s sister Susan Morton, 1976 OLIVER MESSEL by George Hoyningen-Huene, April 1929 ‘BARE FACTS ABOUT FASHION’ The leading set designer for the stage, opera and films by George Hoyningen-Huene, July 1929 who was, for a time, the most highly paid in the world. A sunlit arrangement – in the studio – for a Vintage bromide print one-piece swimming costume by Lelong. The Condé Nast Archive, New York Vintage bromide print The Condé Nast Archive, New York by Howard Instead, May 1920 The greatest stage actress of her generation, George Bernard ‘NAVY BLUE AND WHITE ARE GOOD SAILORS’ Shaw had her in mind while writing Saint Joan (1924). by Edward Steichen, 1928 Vintage bromide print In the stern of George Baher’s yacht, the group of models National Portrait Gallery, London in clothes by Chanel includes Lee Miller (centre). Vintage bromide print FAY COMPTON AS MARY QUEEN OF SCOTS The Condé Nast Archive, New York by Maurice Beck & Helen Macgregor, October 1923 The British actress starred in a silent biopic of the ill-fated Scottish MARION MOREHOUSE IN CONDÉ NAST’S queen but was better known for her triumphs on the stage. APARTMENT by Edward Steichen, June 1927 Vintage bromide print The model in a dress by Chéruit would later marry The Condé Nast Archive, New York the poet E.E. Cummings.

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 Top, left to right: pages shone with the brilliance of the drawn image. Its first star ‘VOGUE DECO’ contributors were its fashion artists, the great draughtsmen of the by Eduardo Benito, May 1926 Art Deco age, among them Eduardo Benito. Two of his original cover illustrations are shown here. Those of Helen Dryden looked Gouache and pencil on board back to the decorative flair of art nouveau. The Condé Nast Archive, New York By the 1930s Vogue’s artists responded to the fashion of with a freer, more spontaneous style. Cecil Beaton excelled ‘VOGUE CONSTELLATION’ in the drawn portrait, two of which can be seen on the main wall in by Eduardo Benito, July 1926 this section. During the Second World War and into the post war The original illustration for a cover. era, with their sketch boards to hand, ‘Eric’ (Carl Erickson), René Bouché, René Bouët-Willaumez focused on the international Gouache and pencil on board social round and haute couture at its zenith. Examples from this The Condé Nast Archive, New York golden age are shown in the display of Vogue magazines in the large gallery next door and an illustration for a double page by Below: Eric in the 1940s section. ‘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 , 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 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