When we think of Vogue magazine today we often think of its current editor-in-chief, the formidable, Anna Wintour. While Wintour will certainly go down in history as one of Vogue‘s long-standing (since 1988) and notable editors-in-chief, there is another important Vogue editor who’s run at the magazine lasted from 1914-1952 — Edna Woolman Chase.
In this month’s post I’ll highlight excerpts by Edna Woolman Chase (1877-1957) on fashion she wore and observed during her early years from the autobiography she wrote with her daughter, Ilka Chase, Always in Vogue.
Chase witnessed the changes in silhouette that this blog chronicles, from 1880-1930, and I love that we’re able to have a primary source that comments on these distinct changes — not to mention, someone involved in the fashion industry who happens to be very opinionated!
If you have a chance to see this exhibit before it closes on Jan. 5 — make your way to the Bard Graduate Gallery! The interplay and tension of war and fashion for French women and the overarching concepts are phenomenal! The exhibit opened on Sept. 5 and was curated by Maude Bass-Krueger and Sophie Kurkdjian. This review will highlight some of the sections and objects on view.
The exhibit begs the question in its opening text:
“What happened during the four years of the war [1914-1918] to create such a vivid shift in fashion, and what impact did this shift have on French women?”
This post will explore romanticized images of Thanksgiving depicting women whose images seem to come from another era. These artistic renderings meld visions of previous decades or centuries with the date in which they were published in order to create a unique form. From these images we can see how the lines of fashion can be blurred between past and present, and at the same time, may even be part of a burgeoning new style.
Is there a more appropriate place to start than The Ladies’ Home Journal?
Halloween and costume were on my mind for research this month as I stumbled upon this book, Fancy Dresses Described; or, What to Wear at Fancy Balls, from 1880, by Adern Holt. “Fancy dress” was another name for costume or masquerade dress, and same for “fancy balls” as another phrase for costume balls. Fancy balls were an important part of society life in the 1880s as it was an opportunity for the well-to-do to enjoy their wealth in a playful manner and allowed some bending of the inherent fashion guidelines (while never straying too far into impropriety). Granted, these are certainly not specific to Halloween, and were more likely than not worn at other times of the year for the pure pleasure of costume dress at a social event unrelated to a specific holiday. All the same, I thought it would be fun to highlight some costumes from 1880 in contrast to the modern costumes in mind for those celebrating Halloween tonight!
Fashion history lovers will also appreciate the irony of the opening text where the author laments incorrect displays of historical dress. Too often popular media, films, etc. will produce a version of historical dress that viewers expect versus the historical reality — a modernized version that is more appealing. This author from 1880 aims to dispel any misguided ideas about “favourite” historical costumes, as well as costumes that are most suitable for “fair women,” “elderly ladies,” and “sisters,” among other categories (he is nothing if not specific). Undoubtedly though, these costumes were still designed through the lens of someone living in in the late 19th century and the influence of the 1880s can still be seen in those designs.
Anyone dressing up up as a witch or a ghost tonight? You might consider these options:
This month I read Balloonmania Belles by Sharon Wright and am happy to say this was a great read! Much of the book falls within the FFF timeline of 1880-1930, although the book begins in 1783 when the Montgolfier brothers unleashed the first balloon carrying living beings (animals) into the air successfully in France.
The book follows the lives of Balloonmania’s earliest and most notable flying females. Each chapter is devoted to one or two main belles and their stories are interspersed within a broader historical context. I appreciated that this book was able to provide a lot of information on these ladies that is otherwise very difficult to procure, as there is no comprehensive guide that concentrates on female aeronautical pioneers. I wish the book included even more images of the women it describes, but in doing my own search, I know these are difficult to find if they exist at all.