By Daniel Delis Hill
This lavishly illustrated chronicle of yankee women’s models examines relationships among the mass-market ready-to-wear undefined, style journalism, and style advertisements. in the course of the 20th century, those industries fueled one another’s successes through deciding upon an ever-widening buyer type and fanning the will to be trendy. Daniel Hill employs a wealth of basic resource fabric to record not just this symbiosis but additionally an evolution in American style, society, and tradition, as evidenced via greater than 600 type advertisements that seemed trendy from the magazine’s debut in 1893 throughout the subsequent ten a long time. those American vignettes record greater than the appearance and models in their eras; they demonstrate dramatic changes in women’s roles and self-image—witness the metamorphosis from alabaster Victorian homemaker to painted flapper in exactly a iteration, from conformist fifties mother to miniskirt-clad iconoclast just a decade later. during this finished research, Hill deals a fathomless trove for model historians and pop-culturists, a useful source for college kids and execs in advertisements, advertising and marketing, and company historical past, and a distinct segment standpoint on cultural affects for women’s reports.
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Additional resources for As Seen in Vogue: A Century of American Fashion in Advertising
During the Russo-Japanese War of 1904–05, Paris bookshops, stationers, home and garden retailers, and textile shops abounded with products and wares decorated with Japanese or Russian motifs. In 1909–10, Sergei Diaghilev presented performances of Cléopatre and Schéhérazade by the Ballets Russes, which showcased exotic sets and costume designs by Léon Bakst. Around the same time, decorative patterns and design elements taken from the artwork of the Viennese Sezessionists, such as Gustav Klimt, were widely popular in the design of French fashion accessories, jewelry, and interiors.
For example, the copy in a 1918 Finck and Company ad emphasized that the company produced pants for women that were “necessary because women workers must adopt an efficient work-garment to produce effective results. Modest because they are made along lines that are essentially feminine, having been designed by women who know how to put style even into a work-garment. . ” 27 Despite the claim of style in the copy, though, the photo of the woman in baggy overalls was still far from the fashion presentation of the figures in the Bonwit Teller “equestrienne” ad of the same year.
Stepping over streetside W O R L D WA R I — Figure 2-11. The narrow, constraining hobble skirt was grist for the cartoonist’s pen of 1909. puddles or climbing into a carriage often required a woman to suffer the embarrassment of pulling up her skirt almost to the knees to keep from falling. One reason for the instant success of the hobble skirt in America was mass production and mass marketing. Variations of the simple, narrow skirt were easily mass produced by American ready-to-wear makers. Subdued colorations and textile patterns were tailored to the taste of American women.
As Seen in Vogue: A Century of American Fashion in Advertising by Daniel Delis Hill