Vogue Magazine the Glossy Has Spawned an Industry of Imitators, Two Documentaries, a Major Hollywood Film And, Perhaps Most Enduringly, a Modern Dance Craze

Total Page:16

File Type:pdf, Size:1020Kb

Vogue Magazine the Glossy Has Spawned an Industry of Imitators, Two Documentaries, a Major Hollywood Film And, Perhaps Most Enduringly, a Modern Dance Craze Lookout By the Numbers Vogue Magazine The glossy has spawned an industry of imitators, two documentaries, a major Hollywood film and, perhaps most enduringly, a modern dance craze. Itís also gone through some serious changes over the course of its 121 years in print. In recent years, the fashion bible has traded willowy models for celebrities of all kinds, a trend that reached its apex in April when the left-leaning, Chanel-shaded Brit Anna Wintour (the magazineís seventh editor in chief) decided to put ó gasp! ó a reality star on its cover. But even with young upstarts nipping at its Manolos, the periodical that popularized tights and the L.B.D. continues to thrive under its time-tested principle. That is, while other magazines 15 teach women whatís new in fashion, Vogue teaches them whatís in vogue. Approx. age at which Anna Wintour Here, a look at the facts and figures behind fashionís foremost franchise. — JEFF OLOIZIA established her signature bob $200,000 13% Wintour’s rumoredored annual clothing allowance of covers featuring celebrities during Wintour’s first five years 916 PagesP in the Favorite cover model by editor: SeptemberSepte 2012 issue, Anna Wintour: Vogue’sVogue largest to date 93% AMBER VALLETTA Vogue’sVoVogue’gue’ longest tenuredd editors:editors: of covers featuringg celebritiesc 17x over the last five years (still on the masthead)d) Diana Vreeland: Anna Wintour – 29 years A samplingsampling BRIGITTE BAUER Phyllis Posnick – 27 years of the 19 exotic exotic & animalsanimalsimals in fashionfashi on JEAN SHRIMPTON Grace Coddington – 26 years 19x each spreadsspreads Hamish Bowles – 22 years alongsideala ongside famous famous Reigning cover queen ladies:ladies:dies: 37 CheetahC (Kim Basinger, April ‘88) Number of years the longest ElephantEle (Keira Knightley, June ‘07) 26 reigning editor in chief served (Edna Woolman Chase, 1914-1951) SkunkSk (Reese Witherspoon, June ‘03) Number of times Lauren Hutton has fronted the magazine GibbonGi (Marisa Berenson, March ‘65) 8 (Nastassja Kinski, Oct. ‘81) Number of years Diana Vreeland PythonP was editor in chief (1963-1971) GUILTY PLEASURE? 1 Number of hashtags MULLAN; RABBANI AND SOLIMENE PHOTOGRAPHY/WIREIMAGE/GETTY IMAGES; VICTOR BOYKO/ 12.5% OF PRINT READERS ARERE C that have appeared on the cover MALE, BUT ONLINE 42% ARE.E. BoldfaceBoldface namesn ames whowh (April 2014) workedwo k for Vogue: #worldsmosttalkedaboutcover Ali MacGraw Isabella Blow 1974 Ratio of profiles on Alexander Wang Year Beverly Johnson became the first Democrats to African-American Republicans since 2000: Sean Avery woman to appear on the cover Joan Didion 3 : 1 Earliest known cover model: ‘‘All I did my first year at TOTO KOOPMAN Vogue was Xerox.’’ 3,000+ The biracial, bisexual model-turned-spy graced Vera Wang, who climbed from assistant to Approx. number of fashion shows Anna Wintour has attended on behalf of Vogue M PATRICK IMAGES; STAWIARZ/GETTY ASTRID LEFT: CLOCKWISE TOP FROM FRENCH SELECT/GETTY IMAGES; JEWELL/COURTESY TAYLOR OF VOGUE.COM; NAST HOYNINGEN-HUENE/VOGUE/CONDÉ GEORGE GIANNI IMAGES; STOCKDEVIL/GETTY PENATI/VOGUE/CONDÉ NAST; FRANCESCO SCAVULLO/VOGUE/CONDÉ NAST; the cover in August 1933. fashion editor between 1972 and 1987 132 T: The New York Times Style Magazine.
Recommended publications
  • ABC Distribution Kaasstraat 4 2000 Antwerpen T
    ABC Distribution Kaasstraat 4 2000 Antwerpen t. 03 – 231 0931 www.abc‐distribution.be info@abc‐distribution.be presenteert / présente release: 14/11/2012 Persmappen en beeldmateriaal van al onze actuele titels kan u gedownloaden van onze site: Vous pouvez télécharger les dossiers de presse et les images de nos films sur: www.abc‐distribution.be Link door naar PERS om een wachtwoord aan te vragen. Visitez PRESSE pour obtenir un mot de passe. 2 DIANA VREELAND: THE EYE HAS TO TRAVEL – synopsis nl + fr Diana Vreeland – sprankelende persoonlijkheid, mode‐icoon en hoofdredacteur – schreef geschiedenis door mode te verheffen tot kunstvorm. Vreeland zwaaide de scepter als hoofdredacteur van Harper’s Bazaar en Vogue en creëerde een lifestyle vol glamour en excentriciteit die ongekend was in haar tijd. Vreeland werd bejubeld om haar humor en vlijmscherpe uitspraken als ‘the bikini is the biggest thing since the atom bomb.’ Twiggy, Lauren Bacall, Jackie O. en Coco Chanel behoorden tot haar meest intieme vrienden. In de documentaire DIANA VREELAND: THE EYE HAS TO TRAVEL blikt The Empress of Fashion zelf terug op haar bewogen leven. De fine fleur uit de internationale modewereld komen aan het woord over deze grande dame aller tijdschriften. Met o.a. Manolo Blahnik, Lauren Hutton, Diana von Furstenberg, David Bailey en Anjelica Huston. Lengte 88min. / Taal: Engels / Land: Verenigde Staten Diana Vreeland, personnalité hors norme, brillante, excentrique, aussi charmeuse qu’impérieuse, régna 55 ans durant sur la mode et éblouit le monde par sa vision unique du style. DIANA VREELAND : THE EYE HAS TO TRAVEL est à la fois un portrait intime et un vibrant hommage à l’une des femmes exceptionnelles du XXème siècle, véritable icône dont l’influence a changé le visage de la mode, de l’art, de l’édition et de la culture en général.
    [Show full text]
  • INSIDE THIS ISSUE Fashion Lion
    the Albright College FAshion DepArtment neWsletter • FAll 2011 FASHION LION What’s Hot at Albright? African Textile Design INSIDE THIS ISSUE Designers and Mass Marketing Meet the Faculty: Kendra Meyer, M.F.A. Letter from the Editor EVERYTHI NG by Mary Rose Davis ’15 Dear Readers, Welcome to our first issue of the Fashion OLD Lion! Previously, the fashion newsletter was Incorporating vintage fashion into modern looks is easy. called Seventh on Thirteenth, a play on words that mimicked Seventh on Sixth where “Thanks, it’s vintage,” is possibly one of the coolest things you can say when New York City’s Fashion Week was held receiving a compliment on your outfit. for many years. With the relocation of the With fashion trends from the past becoming more popular, it’s important to fashion week events uptown to the Lincoln know how to incorporate these trends into your style without looking “dated.” Center, we held a contest this semester to come up with a new Once you do, you’ll have a whole new — or old as the case may be — look. name for the newsletter. Congratulations to fashion design and First, you can’t wear it if you don’t own it. So get your fashionable self to the merchandising major Monica Tulay ’12 for the winning entry. closest thrift store or just raid your parents’ closet and find that perfect piece for For me, this change in name serves as a symbol of my years you. One thing to keep in mind is that it’s always easier to start with smaller items at Albright.
    [Show full text]
  • THE POLITICS of Fashion Throughout History, the First Lady’S Style Has Made a Statement
    THE POLITICS OF Fashion Throughout history, the first lady’s style has made a statement By Johanna Neuman rom the beginning, we have obsessed new country’s more egalitarian inclinations. Martha about their clothes, reading into the Washington dressed simply, but her use of a gilded sartorial choices of America’s first la- coach to make social calls led critics to lament that dies the character of a nation and the she was acting like a queen. Abigail Adams, who had expression of our own ambitions. “We cultivated an appreciation for French fashion, was want them to reflect us but also to reflect glamour,” careful to moderate her tastes but failed to protect Fobserves author Carl Sferrazza Anthony, who has John Adams from criticism that he was a monarchist; studied fashion and the first ladies. “It is always he was defeated for re-election by Thomas Jefferson. said that Mamie Eisenhower reflected what many “These Founding Fathers had deep ancestral and in- Americans were, and Jackie Kennedy reflected what tellectual ties to countries where government lead- many American women wanted to be.” ers’ dress was explicitly understood to In a nation born in rebellion against Jackie Kennedy in Ottawa, reflect and represent their august posi- the king, the instinct among public fig- Canada, in an outfit tions,” says historian Caroline Weber, ures to dress regally clashed with the designed by Oleg Cassini author of Queen of Fashion: What PAUL SCHUTZER—TIME & LIFE PICTURES/GETTY IMAGES SPECIAL COLLECTOR’S EDITION 77 AMERICA’S FIRST LADIES Marie Antoinette Wore to the Revolution (2008).
    [Show full text]
  • WORKS by LEGENDARY PHOTOGRAPHER HORST at the Mccord MUSEUM
    WORKS BY LEGENDARY PHOTOGRAPHER HORST AT THE McCORD MUSEUM A NORTH AMERICAN EXCLUSIVE Montreal, May 12, 2015 – Between May 14, and August 23, 2015, the McCord Museum is presenting, exclusive to North America, Horst: Photographer of Style, the first major retrospective of the works of Horst P. Horst (1906-1999). This touring exhibition is produced by London’s Victoria and Albert Museum. Legendary German-American artist Horst was one of the 20th century’s most influential fashion and portrait photographers. The exhibition features more than 250 vintage shots that transcend time. In addition to the photographs, the retrospective displays sketchbooks, a short film, archival footage, contact sheets and magazines, as well as eight haute couture dresses from celebrated designers that include Chanel, Muriel Maxwell Couverture du Vogue Molyneux, Lanvin, Schiaparelli, Maggy Rouff and Vionnet, all Muriel Maxwell américain, 1er juillet 1939 from the Victoria and Albert Museum collection. Cover of American Vogue, © Condé Nast /Succession July 1, 1939 Horst © Condé Nast / Horst Estate Also included in the exhibition are a number of less well-known aspects of Horst’s work: nude studies, travel shots from the Middle East, patterns created from natural forms, interiors and portraits. It chronicles his creative process and artistic influences, touching notably on his interest in ancient Classical art, particularly Greco-Roman sculpture, the Bauhaus ideals of modern design, and Surrealism in 1930s Paris. Visitors will discover in the exhibition the legacy of a master photographer. The four primary lenders are the Horst Estate; R. J. Horst; the Condé Nast Archive in New York; and the archive of Paris Vogue.
    [Show full text]
  • Anna Wintour: the Truth Behind the Bob
    Katie Coon Marisa Kurtz Tyler Goodson Christina Karem Anna Wintour: The Truth Behind the Bob Kloeppel’s original article—Anna Table of Contents Wintour: The Truth Behind The Bob Pg 3: Letter from The Editor Pg 4: Celebrity as Rhetoric Pg 5: Language of Fashion Pg 6: Popular Philanthropy Pg 7: Politics en Vogue Pg 8: Aesthetics Pg 9: Conclusion Pg 10: Works Cited THESIS Kloeppel’s article outlines how Anna Wintour uses celebrity driven rhetoric to further her own celebrity, and while her ar- gument is valid, Kloeppel’s article is unsuccessful as a web- text because of it’s disorganization, lack of interactive ele- ments, and it’s navigation difficulties. Letter from the Editor “Letter From The Editor” serves as more than just a premise upon which to introduce the work of the author. The “Letter From The Editor”—where the author’s professor explains and examines the academic environment in which her students completed scholastically rigorous course projects, where she illuminates the highly successful outcome of her student’s rhe- torical and multimedia skills through the outcome of such projects, broad- casting Tara Kloeppel (the author of the piece to follow) as exemplary of such. The “Letter From The Editor” serves not only to promote authorial credibility (as it does successfully), but also to present an important com- ponent of the medium, a component at the heart of her student’s argument, the editorial letter present in every successful magazine. As the “Letter” begins, Greer—the author of the introduction and professor of Women in the Nineteenth Century at UMKC—jumps right into the pool of credibility and makes a “Wow” worthy splash as soon as the article begins.
    [Show full text]
  • Fashion Design Merchandising Strands and Standards
    STRANDS AND STANDARDS FASHION DESIGN MERCHANDISING Course Description The Fashion Merchandising course is an introductory class that teaches the concepts of entry- level business and fashion fundamentals. The following list of skill strands prepares the student in fashion merchandising in the fundamentals of basic fashion concepts and marketing terminology, fashion cycles, key components of the fashion industry shuc a s fashion designers, fashion capitals and fashion week, retail merchandise categories, fashion promotion including advertising and social media, and fashion careers. Student leadership and competitive events (FCCLA and/or DECA) may be an integral part of the course. Intended Grade Level 10-12 Units of Credit .50 Core Code 34.01.00.00.145 Concurrent Enrollment Core Code NA Prerequisite Fashion Design Studio Skill Certification Test Number 405 Test Weight 0.5 License Type CTE and/or Secondary Education 6-12 Required Endorsement(s) Endorsement 1 Family & Consumer Sciences Endorsement 2 Fashion/Textiles/Apparel ADA Compliant: April 2021 FASHION DESIGN MERCHANDISING STRAND 1 Students will recognize basic fashion concepts and terminology. Standard 1 Review fashion terms. (Fashion Design Studio Standard 1) Accessories, apparel, avant-garde, classic, composite, design detail, draped, fad, fashion, fashion cycle, fit, garment type, haute couture, ready to wear, silhouette, style, tailored, trend, wardrobe. Standard 2 Identify fashion products. • Goods – tangible items that are made, manufactured, or grown. They include apparel, textiles, accessories, and other fashion products. • Services – intangible things that people do, such as tasks performed for customers. They include tailoring, cosmetology services, and stylist. STRAND 2 Students will examine the basics of fashion marketing and associated careers.
    [Show full text]
  • Less Than a Decade After Launching Her Own Label, Tory Burch C'88 Is
    Less than a decade after launching her own label, Tory Burch C’88 is one of the most recognizable names in fashion. Through mentoring and microloans, the Tory Burch Foundation is empowering other women entrepreneurs to follow in her footsteps. By Kathryn Levy Feldman From Brand to RoleModel a recent evening at Tory Burch LLC in downtown Manhattan, the resort collection of bright, classic, ON and preppy-chic clothing and accessories was not getting much attention from the 75 women gathered in the trademark orange-and-green showroom. In fact, the clothing racks had been pushed to the sides of the mirrored space to make way for 11 glass-topped tables, where the women—aged 20 to 60, and each the owner of her own small business—were engaged in a networking forum modeled on speed dating and organized by the Tory Burch Foundation and its micro-financing partner, Accion. The evening was one of about a dozen similar mentoring events Burch’s foundation has held in locations such as New York, Chicago, and Hawaii. Every 20 minutes, the women moved from table to table to tap the expertise of a different mentor in fields including (that evening) retail, hospitality, real estate, insurance, and marketing. Burch herself circulated among the tables, listening in on conversations and beaming. 44 NOV | DEC 2012 THE PENNSYLVANIA GAZETTE PHOTOGRAPH BY PATRICK DEMARCHELIER From Brand to “I’m lucky to have had many mentors throughout my career,” Burch says. THE PENNSYLVANIA GAZETTE NOV | DEC 2012 45 “For our mentoring events, we focus Certainly she has demonstrated hers.
    [Show full text]
  • The Ethics of the International Display of Fashion in the Museum, 49 Case W
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Case Western Reserve University School of Law Case Western Reserve Journal of International Law Volume 49 | Issue 1 2017 The thicE s of the International Display of Fashion in the Museum Felicia Caponigri Follow this and additional works at: https://scholarlycommons.law.case.edu/jil Part of the International Law Commons Recommended Citation Felicia Caponigri, The Ethics of the International Display of Fashion in the Museum, 49 Case W. Res. J. Int'l L. 135 (2017) Available at: https://scholarlycommons.law.case.edu/jil/vol49/iss1/10 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Journal of International Law by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Journal of International Law 49(2017) THE ETHICS OF THE INTERNATIONAL DISPLAY OF FASHION IN THE MUSEUM Felicia Caponigri* CONTENTS I. Introduction................................................................................135 II. Fashion as Cultural Heritage...................................................138 III. The International Council of Museums and its Code of Ethics .....................................................................................144 A. The International Council of Museums’ Code of Ethics provides general principles of international law...........................................146 B. The standard that when there is a conflict of interest between the museum and an individual, the interests of the museum should prevail seems likely to become a rule of customary international law .................................................................................................149 IV. China: Through the Looking Glass at The Metropolitan Museum of Art.......................................................................162 A.
    [Show full text]
  • Council of Fashion Designers of America
    Council of Fashion Designers of America ANNUAL REPORT 2017 The mission of the Council of Fashion Designers of America is to strengthen the impact of American fashion in the global economy. B 1 Letter from the Chairwoman, Diane von Furstenberg, and the President and Chief Executive Officer, Steven Kolb In fashion, we respond to the world we live in, a point that was powerfully driven home in 2017. We were excited to see talents with broad cultural backgrounds and political ideas begin to express their experiences and beliefs through their collections. Diversity moved into the spotlight in ways we have never seen before. Designers embraced new approaches to business, from varying show formats to disruptive delivery cycles. It was also the year to make your voices heard, and CFDA listened. We engaged in civic initiatives important to our industry and partnered with Planned Parenthood, the ACLU, and FWD.us. We also relaunched our CFDA Health Initiative with guidelines to help those impacted by sexual assault or other forms of abuse. There’s no going back. In 2018, CFDA is moving ahead at full speed with an increased focus on inclusivity and women in fashion, the latter through an exciting new study with Glamour magazine. We may be a reflection of the world we live in, but we also work hard to make that world a better place. Altruism, after all, never goes out of style. 3 CFDA STRENGTHENED PILLARS WITH MISSION-DRIVEN ACTIONS MEMBERSHIP Fashion Professional Fashion Civic+ Retail Partnership Week + Market Development Supply Chain Philanthropy Opportunities SUSTAINABILITY INDUSTRY ENGAGEMENT SOCIAL AND EDITORIAL MARKETING AND EVENTS KEY UNCHANGED MODIFIED NEW PROVIDED INITIATIVES RELEVANT TO DESIGNERS EMERITUS AT EVERY STAGE OF CAREER DESIGNERS • Board Engagement • Philanthropy and Civic ICONIC Responsibility DESIGNERS • Mentorship • Editorial Visibility • Board Engagement • Fashion Week • Philanthropy and Civic ESTABLISHED Responsibility DESIGNERS • Mentorship • Editorial Visibility • NETWORK.
    [Show full text]
  • Eclectic Ease
    TAKE A MEMO JEAN PAUL GAULTIER TALKS ABOUT HIS NEW A NEW BOOK COLLECTS BROOKLYN- EXHIBITION IN THE THE MEMOS FROM THE BOROUGH, AS WELL AS MADONNA, FILM AND LEGENDARY DIANA BOUND MORE. PAGE 3 VREELAND. PAGE 10 $500,000 CONTRIBUTION Ralph Boosts Initiative For NYC Manufacturing By MARC KARIMZADEH NEW YORK — Ralph Lauren has given a signifi cant boost to New York garment manufacturing. Lauren will serve as the “premier underwriter” of the new Fashion Manufacturing Initiative with WEDNESDAY, OCTOBER 23, 2013 ■ $3.00 ■ WOMEN’S WEAR DAILY a $500,000 contribution from Ralph Lauren Corp. to the program, which was launched last month by WWD the Council of Fashion Designers of America and Andrew Rosen in partnership with the New York City Economic Development Corp. “I was born in New York and started my business in the Garment District here,” Lauren said. “FMI serves an important role in supporting our city, our industry and gives designers the access and oppor- tunities needed to help advance their careers while Eclectic boosting manufacturing in New York. This is some- thing I’m very proud to be a part of.” The initiative’s aim is to raise funds and create grants to help existing factories in the fi ve boroughs to update equipment, acquire new machinery and train workers, for example. Ease With the contribution, Don Baum, Ralph Lauren’s Contemporary designers are striking an senior vice president, global manufacturing and sourcing, will join FMI’s selection committee, which easy-breezy vibe for spring with loose, includes Rosen, chief executive offi cer of Theory; carefree shapes worked in a mix of cheerful CFDA ceo Steven Kolb; designer Prabal Gurung; Nanette Lepore ceo Bob Savage, and Rag & Bone de- patterns.
    [Show full text]
  • Penelope Rowlands
    A Conversation with Penelope Rowlands enelope Rowlands’s biography of Carmel Snow, A Dash of Daring: Carmel Snow and P Her Life in Fashion, Art, and Letters was one of the books that was most valuable to the curatorial team that put together The Women of Harper’s Bazaar, 1936-1958. In became the heavily Post- it noted Bible for all things Bazaar. In a fitting twist, Rowlands used FIT’s copies of Harper’s Bazaar that date from Snow’s tenure for her research, just as the curators did. Because Rowlands, a journalist, was working on a project in Paris, she wasn’t able to attend the exhibition. However, she made time to speak on the phone with one of the curators, Nancy MacDonell, also a journalist, to talk about Carmel Snow, the importance of a good editor in chief, and the current state of fashion journalism. The following is an edited, condensed version of their conversation. Nancy MacDonell: Thank you so much for agreeing to speak with me. Penelope Rowlands: Oh, you're welcome. I was thrilled to hear about the show. As you can imagine, I have a bias towards Carmel and I'm always happy to hear her getting some attention. NM: If someone has heard of any of these three women they've probably heard of Diana Vreeland. I think Carmel Snow was a more gifted editor, but she didn't get the recognition that Vreeland got. PR: Well, that's exactly true, and when I met with Richard Avedon that was one of my Questions, and he’s quoted in the book—that Carmel came along before fashion editors were stars.
    [Show full text]
  • Printable Version (Pdf)
    Strands & Standards FASHION DESIGN MERCHANDISING COURSE DESCRIPTION The Fashion Design Merchandising course is an introductory course that teaches the concepts of entry-level business and fashion fundamentals. The following list of skill standards prepares the student in fashion merchandising with the fundamentals of: basic fashion concepts and marketing terminology, fashion cycles, key components of the fashion industry, retail merchandise categories, fashion promotion and fashion careers. This course will strengthen comprehension of concepts and standards outlined in Sciences, Technology, Engineering and Math (STEM) education. Student leadership and competitive events (FCCLA and/or DECA) may be an integral part of the course. License Type Intended Grade Level: 10-12 CTE and/or Units of Credit: .50 Secondary Education 6-12 CIP Code: 20.0316 Required Endorsement FACS General Composite or Core Code: 34.01.00.00.145 CTE License – CE Core Code: 00.00.00.00.000 Fashion/Design/Merchandising Prerequisite: Fashion Design Studio Skill Certification: #405 Test Weight: 0.5 Revised April 2015 Page 1 of 5 Fashion Design Merchandising Strands & Standards STRAND 1 Students will recognize basic fashion concepts and terminology. Standard 1 Review fashion terms. (Fashion Design Studio Standard 1) Standard 2 Identify fashion products. STRAND 2 Students will examine the basics of fashion marketing. Standard 1 Define the following marketing terms: marketing, marketing concept, target market, market segmentation, fashion merchandising. (*STEM: Math and Technology) Standard 2 Describe the 4 Ps of marketing (product, price, place, promotion). (*STEM: Math) Standard 3 Describe the 4 methods of market segmentation (demographics, geographics, psychographics, behavioral). (*STEM: Technology) Standard 4 Describe the 6 marketing functions (pricing, promotion, product/service management, marketing information management, distribution, selling).
    [Show full text]