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!
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?
Little Ladies proved to be a hidden gem (and also more closely in line with the FFF timeline). Although most of the pieces date around the 1870s, many of the ideals and pieces themselves would have still been relevant and used in the 1880s, the beginning of the FFF area of study, though some of the silhouettes would have changed.
The exhibit makes the point that these dolls were instructional in the sense that they provided young girls with what to expect in marriage and coming years. Beautifully ornate and detailed, the dolls provided a counterpart to written materials on how a lady should act, what she should wear during very specific times of day (down to the handkerchief placed in her pocket and the bustle under her skirt), and the realms in which she should primarily occupy herself.
Happy Holidays to all Femme Fashion Forward readers! I decided to dedicate this post to the holiday season, and admittedly, primarily Christmas. I thought it would be interesting to compare holiday covers for Vogue and Harper’s Baza(a)z throughout the FFF timeline (1880-1930), and inevitably, the seasonal messages that were shown for December on major fashion magazine covers during this period were geared towards the celebration of Christmas if a specific holiday was mentioned.
Vogue and Harper’s Baza(a)r would also specifically publish additional “Christmas Gift” or “Christmas” editions around December. For Vogue readers around 1911, an extra $0.25 could purchase this special gift guide that “Let Vogue do your Christmas Shopping,” as their ads proclaimed. Acting as a catalog, Vogue selected fashionable items from “the leading shops of New York,” and would deliver them to the reader as selected with no extra charge for delivery. A foreshadowing of Amazon Prime? Not to be outdone, Harper’s Bazaar offered a similar holiday guide issue and gift ordering service.
I hope in analyzing the stylistic details of these covers from Vogue and Harper’s Bazaar (and Bazar) there is something interesting for all to take away regardless of personal holiday celebrations, in terms of insight into the art world and society at large. Overall, I think you’ll enjoy the following fashion magazine covers for the month of December!
Fashion week in NYC wrapped up a couple of weeks ago on Sept. 14, London ended its shows last week, followed by Milan, and Paris Fashion Week ends this Tuesday, Oct. 2. Fashion week has become systematized with a specific calendar of designers showing in different cities at different times so that buyers and influencers can potentially go to the maximum number of shows and prepare for the coming season. Granted, this system has become less centralized in recent years, but for the most part, high-end designers will follow this time-tested formula for showcasing their work. This had me thinking about the origins of the fashion show and how it became such an organized mechanism.
In my research, I concentrate on the first locations used to show designs with live models in the early 1900s-19-teens, both the cities and specific place or event, who was modeling the clothing, and the perception of this evolving business scheme. In the early 1900s, the idea to show clothing on a living person had taken off and was more than just a one-off by a few trailblazing designers. Yet, it was still so new and not yet formulated into the system we recognize today.