Category Archives: Work in Progress

Our research, our current ideas, and what we’re thinking about now

Dissertation Discussion: Barbora

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My three bibles for the past few months: D.V. by Diana Vreeland, Allure by Diana Vreeland and Memos: The Vogue Years edited by Alexander Vreeland

What is your title?

“Fake It!” Examining the myths and realities in the life and work of Diana Vreeland.

What prompted you to choose this subject?

Ever since I’ve watched The Eye Has To Travel for the first time, I was fascinated by Diana Vreeland and the way she shaped the industry almost singlehandedly. Her stories, too, are quite something: Vreeland, her sister and nanny were the last people to see the Mona Lisa before it was stolen in 1911; Charles Lindbergh flew over her garden on his first trans-Atlantic flight; she almost took down the British monarchy when Wallis Simpson came to her lingerie store to order some special garments for her first weekend away with the Duke of Windsor, Prince Edward; and she attended Hitler’s birthday party in the early ’30s, sending a postcard to her son afterwards with the note “Watch this man.” Apparently so, anyway. I wanted to find out more about what prompted her to create such an extreme background for herself, the reason behind all the myth and fantasy which surrounded her, the obsession with “faking it” and everything else about her, really. Actually, I think I fancied the role of a detective for a few months, attempting to untangle what really went on in her head and her life.

‘Vogue’ December 1, 1965 Cover | Wilhelmina Cooper by Irving Penn | Diamond cage deisgned by Harry Winston (‘Memos: The Vogue Years’)
‘Vogue’ July 1, 1969 | Veruschka by Irving Penn (‘Memos: The Vogue Years’)

Most interesting research find thus far?

I was lucky enough to go to New York to visit the Diana Vreeland Papers Archive at the New York Public Library. Flicking through the original pages of her teenage diary, handling her passport and birth certificate (the date of her birth is no longer a mystery!) and finding out what she was up to on a day-to-day basis through the Smythson leather diaries she kept between 1950 and 1985 was quite amazing. There are some peculiar entries where Vreeland notes when she is due to start her pills – once green, then yellow, then pink. Very intriguing. Sadly, I only had two days in New York and so could only go through four boxes out of the sixty-something the library has. Might have to go on another trip soon! I think about a month should do it, mainly because Vreeland’s handwriting makes it quite a challenge to decode what she was actually trying to write down. Oh, and one more thing: the Harper’s Bazaar and Vogue online archives are very dangerous if you don’t have much time – they suck you in!

‘Vogue’ April 15, 1969 | Bert Stern (‘Memos: The Vogue Years’)

Favourite place to work?

I got into a very bad habit of working from my bed. So most of the time I can be found there, surrounded by mounds of paper, pastel-coloured highlighters and books. If I manage to persuade myself to face the outside world, I head to Starbucks (but only one that has comfortable armchairs or sofas!), and have a huge mug of soy matcha latte. I fear to look at my bank statement and find out how much I spent at Starbucks in the past couple of months. And there’s still time to go… Strangely, I find libraries quite distracting, but in Starbucks I get the work done.

Starbucks should probably have its mention in my acknowledgements as the place which provided constant fuel for all the writing.
What my bed looks like most of the time now. Also, pastel-coloured highlighters are a must, as is colour-coding!

Dissertation Discussion: Dana

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Model Anne Saint-Marie wearing cinnamon brown wool tweed evening coat, lined in black satin over matching black satin dress. © Horst P Horst for Vogue Oct, 1959. Getty Images

What is your title?

I’m very bad at coming up with titles and I’m still working on mine, but the working title is ‘Relationships Between Body, Fashion and Furniture: The Modern Chair in Mid-Century Photography.’

Model Anne Saint-Marie wearing cartwheel pyjamas as pants, of printed silk shantung in flowers of orange and red. Shown with white sleeveless linen top and strap sandals. © Horst P Horst for Vogue June, 1957. Getty Images

What prompted you to choose this subject?

I’ve always had very broad interests, academically and personally, that range between ancient and medieval art to modern design and fashion, so I really wanted to do something different and wanted to explore further (although I was hesitant to do so at first). I also have a soft spot for furniture, especially Mid Century Modern chairs, sofas and daybeds, so it wasn’t a very difficult decision to make. But the moment I decided that I wanted to talk about furniture and fashion was during our class trip to New York. Not only was there an exhibition on Bauhaus interiors (another soft spot) at MoMA, but also, on our visit to the FIT archives, I realized that we were all sitting on 1975 Eames chairs for Herman Miller, which to the amusement of my classmates, got me very excited. That is when I thought I had to!

Anne Gunning-Parker wearing shantung pajamas with watermelon slice design reclining on couch with dog and unidentified man seated next to her. © Horst P Horst for Vogue May, 1954. Getty Images.

Most interesting research find thus far?

There has been so much! But the most interesting find was seeing how most of the 1950s images I’ve been looking at portrayed men and women sitting for a photo (more specifically husband and wife). Unless the shot portrays them working (as some portraits from Charles and Ray Eames), the man is usually positioned behind the woman (most likely standing), more pensive. The woman usually sits on a sofa (a tad reclined – but never too comfortably). This creates a dichotomy between the man and the woman portrayed, of vertical and horizontal lines.

Paul McCobb among his furniture, 1956. Photographer not stated. Getty Images.

Favourite place to work?

I’m not a library person anymore, so usually spend most of my time at home or in coffee shops (where coffee is allowed). But I’ve gone to my parent’s house in Madrid for a couple weeks and my favourite place to work here would be the library at the Costume Museum as it’s always quiet, cool, and has glass walls with views to their garden (which is pretty amazing).

Highlights from the Courtauld’s History of Dress Journals Archive: Elle UK

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Our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive is this Saturday! Book your ticket here for a day of amazing speakers and beautiful objects, including those from the exhibition we have previewed the last few weeks, ‘Addressing the Courtauld’s Fashion Magazines.’ We look forward to seeing you there!

‘French Fashions’ photographed by Chris Dawes. Elle UK, March 1986. History of Dress Collections, Courtauld Institute of Art.

The 1980s were turbulent years in Britain. From extreme hardships and upheaval to pop culture and newfound affluence, the decade had a lasting influence on modern-day life. In this explosive climate, some relief came with the birth of iconic magazines such as i-D, The Face, Arena and, in November 1985, the British version of Elle Magazine, the originally French style bible. Aimed at young career women, Elle combined carefree fashion with serious articles, or ‘style with content,’ as Dylan Jones, the Editor-in-Chief of GQ put it. Today, Elle holds the title of the largest fashion magazine, boasting 43 international editions published in 60 countries worldwide.

With Sally Brampton as its first Editor-in-Chief, Elle became the to-go magazine for the well off, modern 18-30 year old, who was uninterested in the world of luxuries, haute couture and pampering offered by Vogue. Instead, the magazine published frank and provocative features about love, sex, dating and health alongside interviews with the likes of Harrison Ford, Mickey Rourke, Jasper Conran or Paula Yates. The glossy fashion pages, graced by Naomi Campbell, Claudia Shiffer, Linda Evangelista, Carla Bruni and Yasmin Le Bon, were daring, powerful and unrestrained, full of spirit and joy. The articles were relatable and fascinating while the fashion photographs by Mario Testino, Eamonn J. McCabe or Neil Kirk shot in exotic locations provided a much-needed element of fantasy and aspiration. With such ingredients, Elle was set to become the cult publication of a generation.

This spread here, entitled ‘French Fashion’ and photographed by Chris Dawes for the March 1986 issue of Elle, showcases why the magazine was so groundbreaking in its first few years. Tapping into a younger, yet still style-conscious audience, guides on how to achieve a look which appears to be taken straight from the catwalk were a common fixture in the magazine. Chanel, a favourite of the modern working woman, plays a main role on this double page. The classic skirt suit of Coco, trimmed in black with gold details, complete white gloves and a black quilted bag with a chain strap, could be yours for a mere fraction of the original price. In style, however, it packs the same punch. French-chic without the price tag!

The sleek, glossy page hints at the opulence one experiences when wearing such an outfit. Framed as a Kodak contact sheet, the idea of a luxurious lifestyle is further alluded to by positioning the wearer of this ‘Chanel’ look as someone worth photographing. Yet, the girl is not simply a society lady going between luncheons and afternoon teas. She is in movement, her bag flying behind her. Perhaps she is on her way to a business meeting, or rushing to work in the morning. She appeals to the career woman of the 80s and inspires younger readers to embrace a working life – you can still look incredibly à la mode in office attire. Magazines should create a fantasy, but they should also be rooted in reality – Elle masters it!

Highlights from the Courtauld’s History of Dress Journal Archive: Vogue Paris

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We are just one week away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!

Double page spread photographed by Guy Bourdin, Vogue Paris, April 1976. History of Dress Collections, Courtauld Institute of Art.

This double page spread is part of a nine page fashion story by the photographer Guy Bourdin, displaying the new ‘sporty and young’ swimwear and summer fashions for 1976. The first fashion story in Vogue Paris’ ‘spring special’, it follows advertisements for Missoni, Versace, Etro, Yves Saint Laurent, Celine, Charles Jourdan, Bally and Jacques Heim. It precedes another, shot by David Bailey, and editorials on how to confront the beauty-depressing effects of winter, 10 new methods to re-discover joie de vivre as well as an extensive story on Greece, in celebration of the country’s new membership of the European Common market.

Five girls in bikinis lay outside to catch the sun’s rays in an unusual setting – usual that is, for the pages of luxury magazine Vogue. Far from an idealised, exotic location, five girls stretch out across a cracked and dusty pavement as a bus passes by, in barely-there bikinis, ‘so small that they may be held in the palm of the hand’. Sunglasses discarded, each holds a light-reflecting silver board up to their face in order to achieve a faster, stronger tan. In a further spread, models climb a fence in search of a sunnier spot past a shaded avenue palm trees, and in another, recline on a narrow strip of grass between a tarmac highway and Sears warehouse, their languor contrasting with the fully clothed figure rushing past. Breaking up the location’s horizontal lines – the bus’ branding, wall and pavement’s edge – the models are made individual by the bold colours of their bikinis and different hairstyles. They are conceivably a group of normal girls, taking advantage of the first signs of summer in the city where they live.

Cover of Vogue Paris, April 1976. History of Dress Collections, Courtauld Institute of Art.

Vogue Paris’ editor-in-chief, Francine Crescent, gave her photographers a great deal of creative freedom. With Bourdin, this enabled him to exploit the features of the magazine as a material object. He was the first photographer to bear in mind the potential of the double-page spread when taking his images; all but one of the images that make up this story extend past the gutter and bleed to the very edges of the magazine. Bourdin is mindful of the way a magazine falls open, laid on a table, or across a reader’s thighs. His models are carefully spaced in order not to distort their figures at the centre of the spread where the pages naturally curve inwards to their binding. A wall or fence is often at the centre of the image, setting up a contrast between the two halves of the image. The effect is fully immersive; the picture being larger, more of the scene may be seen in greater detail, more figures included, more of a narrative told. The glossy-light reflecting paper the images are printed on adds to Bourdin’s emphasis on sunlight and shade. Viewed in April, together with features on post-winter revival, Bourdin directly addresses the reader’s desire to shed heavy coats and insulating layers with bare flesh and warm colours. As the reader holds Vogue in their hands, they are within their grasp.

Highlights from the Courtauld’s History of Dress Journal Archive: Femina 1951

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We are less than two weeks away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!

Cover of Femina, October 1951. History of Dress Collections, Courtauld Institute of Art.

Femina was a French fashion magazine active from the early twentieth century.  It is a great documentary source for the history of French couture as shown by these images.  During the war, Parisian couture was necessarily scaled back in its production due to a lack of material resources as well as customers.   Fashion, however, was often a way for the women of Paris to resist the occupation of their city by asserting nationalistic pride through the cultural tradition of high fashion.  After the war, Christian Dior asserted a return to luxuriant and grand femininity with his “New Look” collection of 1947 featuring narrow sloped shoulders, hand-span waists, and voluminous longer skirts.  Although some people were shocked and even dismayed at what seemed an excessive use of fabric, the silhouette was largely embraced by women happy to have a change that expressed beauty and luxury.

Illustration of a Christian Dior gown. History of Dress Collections, Courtauld Institute of Art.

By 1951, as these illustrations attest to, the New Look silhouette was an integral part of fashion.  Dior’s gown features a blue back panel with bow that is reminiscent of the earlier nineteenth century bustle emphasizing the back of the skirt.  This silhouette was very consciously a return to the history of dress from the eighteenth and nineteenth centuries which Dior felt celebrated femininity in a way that resonated in the post-war period.

Illustration of a Nina Ricci gown. History of Dress Collections, Courtauld Institute of Art.

Nina Ricci was one of many female couturiers before the war who opened her house in 1932. Though she isn’t as well remembered today as Dior, she was a great success in the thirties and after the war, designing until 1954 when her son took over the business.  The gown illustrated here exemplifies Ricci’s aesthetic of a highly refined femininity infused with romantic details.  The caption refers to the Second Empire period in mid-nineteenth century France which the gown seems to revivify in its sweeping trained skirt and oversized bow emphasizing the hips.  By contrast, the waist appears even smaller.  The matching long evening gloves also continue a fashion tradition in eveningwear.  The model’s coiffure, however, is a modern post-war style which reminds us that fashion is always a blend of past and present.

What I love so much about these illustrations is the way they capture a sense of drama from the dress itself.  Photographs often rely upon the model and settings to create a fuller scenario but illustrations really focus on the silhouette and textures of the garment.  The shading on the Dior gown conveys the stiffness of the material and the sheen of a silk.  That I can “feel” the surface and shape of the dress is what draws me in.  In a sense, the drawing convinces me that the gown is real, that fashion is real, because it connects to what I already know in part – the textures, colors, and shape, but offers the possibility of even more – the actual dress.

The mark of the artist’s hand speaks to the agency of my own hands and the knowledge they quite literally hold.  The architectural quality of the gown can be felt with just a few lines in the right place.  By contrast, the more fluid, softer drape of Nina Ricci’s gown seems to telegraph the movements of the woman’s body.   I can imagine the train swaying in echo of her hips as she glides across the ballroom.  The illustrations heighten the sensuality of the gowns.  The differences in aesthetic qualities reflect the type of woman imagined as the wearer and express the designer’s vision of her desires.

Highlights from the Courtauld’s History of Dress Journal Archive: Femina 1947-1948

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We are just two weeks away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!

 

Femina, December 1947-January 1948. History of Dress Collections, Courtauld Institute of Art.

This illustrated fantasy world of fashion was published in the 1947 to 1948 Christmas issue of Femina magazine. Femina was founded in February 1901 by Pierre Lafitte in Paris and focussed on “the real woman, the French woman raised in the best tradition of elegance, bon ton and grace.” Published on a bimonthly basis, Femina was aimed at an affluent readership of modern, urban, French women, who were not only encouraged to shop and dress like the social elite, but to be interested in culture, literature and politics. Femina reached its peak readership with around 40,000 readers in 1934 to 1935, and, uniquely, was edited and staffed by women only. In addition to influencing its normal readership, Femina impacted Parisian fashion through dressmakers who often took Femina issues to their customers to show examples of the latest designs.

Femina’s higher price point is evident from the editorials, advertisements and design of this issue. Most of the editorials feature couture evening gowns rather than daywear, such as gowns to wear to the opera, and many of the illustrations and photographs are in colour. The large pages are luxuriously laid out with often considerable white space around the subject. Perfume, watch, jewellery and liquor advertisements express the celebratory nature of the issue. For instance, illustrated fireworks spell out the characteristics of a Lanvin Parfums wearer and a ‘dark Brilliance de Lenthéric’ perfume bottle replaces a regular Christmas tree ornament.

This double-page spread, called ‘VISIONS’, shows illustrator Baumgarter’s dream of fashion silhouettes traversing against an imagined background. His dream includes the latest designs by Lucien Lelong, Paquin, Maggy Rouff, Madeleine de Rauch, Nina Ricci, Balenciaga, Jacques Fath, Piguet, Pierre Balmain, and Dior. The slight blurriness helps to show that the illustration is a fantasy, which is less apparent when the illustration is digitised or photographed. The smoothness of the magazine’s paper is decisive in the experience of looking at the illustration: not only does it convey a kind of refinement that mirrors the luxury of the gowns, but the moderate glossiness helps to bring the illustration to life. Rather than looking at a photograph on a screen, moving the somewhat shiny illustration helps to create a tactile link to the gowns depicted and encourages the reader to imagine the volume and fabric of the designs.

Further adding to the experience is the thickness of the paper, which seems almost reluctant to open fully. Indeed, the quality of the paper has resulted in near perfect preservation, with the exception of the cover, for almost seventy years. In 1947, it would not have required a lady to be familiar with Femina to recognise the quality and lavishness of the magazine. Moreover, it perfectly answered the needs of a society whose faith in the strength of its fashion industry had to be restored and which craved the comfort and joy of luxury after half a decade of restrictions and loss.

Highlights from the Courtauld’s History of Dress Journal Archive: Harper’s Bazaar

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We are less than a month away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!

Harper’s Bazaar, October 1940. History of Dress Collections, Courtauld Institute of Art.

This magazine is an October edition of Harper’s Bazaar published nationwide in the year 1940, during the London Blitz. Despite the hardships of wartime, the magazine targeted the female upper classes, which were the only ones with enough purchasing power to afford it. With the costly price of 2 shillings 6 pence, it was a considerable expense that could feed an average family for one day. In contrast to DIY publications, Harper’s Bazaar relies on the desire to emulate the rich and powerful to disseminate latest fashions. With the upcoming winter, the issue centers around the season’s new fashions coming from the capital, presenting a wide array of greatcoats both furless and completely fur-lined, made mostly out of warm wools or commonly available types of fur like squirrel, mole, and rabbit. The effects of rationing clearly influence the choice of images which are plain in their style with scarcely any accessories and minimal display of jewelry, painting a picture of a simple, although fashionable, woman. The practicality of the inside contrasts sharply with the flamboyant cover which is aimed at defying the grim realities of wartime and giving people back the feeling of normality.

Looking closer at the front cover, we can examine it as a historical source from the era, a social history document that tells the historian part of the story of Britain in the 1940s, and more particularly its dress history. A closer inspection may reveal that the colours chosen in such a specific moment in history are not random. The predominant purple tones, which are one of the first elements that catch the viewer’s attention, are historically associated with opulence, richness, royalty and empire. The crispness and silky texture of the sleeve contrast with the other colours of the dress that look as if they are polluted with randomly distributed red dots. The grainy and wooly texture of the material creates an off-focus effect that contrasts with the smooth and well-shaded arm and the sharp colours of the jewellery that richly decorates it. Our gaze is naturally led towards the hand that holds the cigarette, a luxury item that was rationed and reserved mostly for the servicemen at the front. Smoking, at the time, was an activity reserved for the feminine elite, symbolic of the defiance and rebellion against the male culture and male-centred workplace. The model positions herself in a relaxed and mindful manner looking down upon the viewer in an almost spiteful way, suggesting her higher status. This projects an image of power and confidence, a new Britannia clothed in all the riches of the Empire, watchful and confident of her power to withstand the dangers that befell her.

Highlights from the Courtauld’s History of Dress Journal Archive: Für die Dame

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We are less than a month away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!

This is a January 1927 issue of Für die Dame – Schweizerische Illustrierte Monatszeitschrift für Mode und Gesellschaft (For the Lady – Swiss Illustrated Monthly Magazine for Fashion and Society), a Swiss fashion magazine, published by Druck und Verlag Buchdruckerei Wittmer & CIE in Basel. The cover informs that this is the “3. Jahrgang” (3rd Year) suggesting that the magazine was launched in 1925. Its content consists of a mixture of fashion, society portraits, a novel and short pieces of varied nature. These range from a discussion of hotel staff in Russia to an obituary on William Macdonald II, to humorous short stories. Photography is used especially for the society and fashion sections. The latest Parisian fashion by ‘Romain’ and ‘J.Paquin’ are captured on models standing either in front of a curtain or in a living room tending to flowers. Dresses show a dropped waistline and straight silhouette. The content of Für die Dame is, as for most magazines still today, interspersed by advertisements. These range from soap ads to ‘hygiene’ related articles, to furniture/ interior design shops. The magazine thus, not least through its title, has a very clear female audience, one that the magazine’s content suggests is educated, modern and interested in a variety of different areas of fashion, literature, health and society.

Für die Dame, January 1927. History of Dress Collections, Courtauld Institute of Art.

The magazine’s remarkable front cover shows a beautiful illustration of a young blonde lady with fashionably bobbed hair on a ski slope. She is wrapped in a yellow scarf, striped jumper and trousers that cut off just below the knee to reveal brown socks and what are possibly the beginning of boots with a blue and red chequered pattern. She stands assertively, holding her yellow skis, while behind her the white piste with two trees forms a winter backdrop. A fellow skier is indicated to her left and a tiny ski-jumper in the background completes the picture of a day on the slopes. The illustration corresponds to an article on the likes of health, posture and diet on the inside of the magazine, which is complemented by photographs of women with skis. Only marked “RI CO” in the bottom right hand side corner, the illustrator’s full identity could not be determined. Offset through grey and white frames on a light blue background, the art-deco styled illustration is striking through its geometric design and modern appeal. The cover is matte and paper-like, suggesting to us viewers that what we are holding is in fact nearly an art print that one could hang on the wall. The paper used for the pages too is a little thicker, rather soft and slightly shiny suggesting quality and preventing the magazine from having a simple throw-away quality such as that of a newspaper. It implies that the magazine would not be entirely out of place in one of the lavish rooms showcased in its interior design spread. Therefore, the lifestyle encapsulated by the front cover, is supported and expressed through the material quality of the magazine itself.

Highlights from the Courtauld’s History of Dress Journal Archive: Gazette du Bon Ton

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We are less than a month away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!

From 1912-1915 and 1919-1925, fashion and art met on the pages of Gazette du Bon Ton. This French publication entertained upper-class consumers with elaborately illustrated articles and sumptuous fashion plates. Though the First World War loomed on the horizon, the stories in this issue from March 1914 showed no signs of global tension. From an article detailing exotic pearl-net masquerade masks to a list of elites vacationing at the French Riviera, the authors of Gazette du Bon Ton created a world ruled by novelty and luxury.

Stimpl, ‘Riviera… Riviera…” in Gazette du Bon Ton, March 1914. History of Dress Collections, Courtauld Institute of Art.

Each issue included a set of ten plates with couture fashions by houses like Doucet, Lanvin, and Worth. Two plates from this issue feature designs by masters of 1910s couture: Paquin and Paul Poiret. In ‘La fontaine de coquillages’, George Barbier set an evening gown by Paquin against a luscious blue courtyard and classical fountain. Pearl embellishments on the turquoise velvet and grey tulle dress mimic shells, which Barbier echoes in white on hanging shell clusters. A shell in the figure’s hand catches water from the fountain, merging the background and foreground. In comparison, Simone A. Puget’s illustration for ‘Salomé’, an evening gown by Paul Poiret, is striking in its simplicity. By placing the figure on a plain black base, the artist focuses attention on the dress. The design speaks to the sensuality of the legendary Salomé, as fishnet stockings emerge from beneath the diagonal skirt hem and the figure’s nipples, colored the same red as her lips and nails, peek through the swirled, off-the-shoulder bodice.

George Barbier, ‘La fontaine de coquillages’ in Gazette du Bon Ton, March 1914. History of Dress Collections, Courtauld Institute of Art.
Simone A. Puget, ‘Salome’ in Gazette du Bon Ton, March 1914. History of Dress Collections, Courtauld Institute of Art.

Every turn of the page in Gazette du Bon Ton offers a new feast for the eyes. At just 25cm x 7cm it is very easy to hold, though the heavy paper prevents the issue from feeling flimsy. With at least one color illustration in the pochoir technique on every page, the magazine presents itself as something to be slowly cherished. The difference in style of the vivid ‘La fontaine de coquillages’ and stark ‘Salomé’ plates exemplify how artistic variety creates the tantalizing feeling of ‘What’s next?,’ urging the reader to turn the page. This sumptuous array of visual delights did not come cheap: the price of a yearly subscription was 100 francs, or more than 400 pounds today!

Artists sometimes used striking metallic paint to enliven their illustrations. Here is one illustration of dancer Armen Ohanian viewed straight on and at an angle. Valentine Gross, ‘Armène Ohanian’ in Gazette du Bon Ton, March 1914. History of Dress Collections, Courtauld Institute of Art.

Gazette du Bon Ton invites haptic interaction as well. The metallic paint used on some illustrations, for example, requires the reader to tilt the page to get the full effect. Should the reader give into temptation and run a finger over the fashion plates, they may feel more than just the horizontal ridges of the thick paper. In ‘Salomé’, the outline of the figure and the dots on the skirt are debossed. Contact with the flat surface of the page brings the gown to life, but also acts as a tangible barrier to the beautiful world displayed in the plates. That space of breathtaking couture fashion, endless luxury, and carefree joy exists only between the covers of Gazette du Bon Ton.

30 Second Fashion / Fashion in 30 Seconds

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2-30-second-fashion3-30-second-fashion-contents-page

4-madeleine-vionnet-double-page-spread-from-30-second-fashionAbout 18 months ago I was contacted by Ivy Press and asked if I’d like to work on a book called 30 Second Fashion. It was to be part of a series of 30 Second … books – each covering a specific topic, which is divided into 50 essential themes, with each theme then discussed over a double page spread that can be read in 30 seconds.

This sounded like a challenge not to be missed – but how to you boil fashion down into 50 topics? That was the first task – once I’d agreed to take on the role of consultant editor. So I set about making a list, trying to think what someone would want to know, or need to know if they were interested in fashion, but just starting to find out about it …  Some things were obvious – something on different types of fashion – haute couture, ready-to-wear etc, but also a section on streetstyle. The various types of media involved in promoting fashion needed to be included and influential designers … and … and … the list got long, then was cut down, then refined to make it as clear and comprehensive as possible.  You can see what I ended up choosing in the image showing the contents page.

Next, was to decide who to ask to write each section. I took on some topics myself (I can never pass up the opportunity to write about Madeleine Vionnet, for example – I’ve included that spread here for you to see), but I wanted to approach people I knew could produce fluent, wonderful text – and importantly, who could be ultra concise, and very prompt, as the deadline was short.

I was lucky – all my first choices said ‘yes’ and they were all as brilliant as I knew they would be.  Several were former students from The Courtauld – all have varied and fascinating interests and experience that made for an interesting group of contributors:

Julia Rea loves Chanel, really understands the contemporary industry and is a freelance writer

Katerina Pantelides is great on details and how history and contemporary meet and is writing a novel

Rebecca Straub is currently at Yale University studying for a PhD and is always great on imagery

Emma McClendon is brilliant on key figures in the industry and is now Assistant Curator at Museum at FIT

All had previously studied with me at MA or PhD level, so I knew they would produce perfect, well-researched text.  And finally, two long-standing friends and peers:

Olga Vainshtein, who knows all there is to know about digital media and fashion – and who is one of Russia’s leading fashion historians

Alison Toplis, brilliant researcher and writer, and fount of knowledge on fashion history (- we met when we studied History of Dress together at The Courtauld).

So I knew I had a wonderful team, all of whom understood the project immediately. They were an absolute pleasure to work with and I want to thank all of them for being completely brilliant throughout the process.

I also want to thank everyone at Ivy Press. It has been great working with you, we were all given the support we needed, and the book looks wonderful!

It’s really fascinating to work on something like this – to have the opportunity to gather together great people and see how they condense such a vast topic into a small space.

The book is published today – hope you enjoy it!

Rebecca Arnold, 30 Second Fashion, Ivy Press, Fashion Book