Tag Archives: Kate Moss

Vogue 100: A Century of Style – National Portrait Gallery

The Second Age of Glamour is Beauty by Cecil Beaton

The National Portrait Gallery has had a very nice line in fashion photography over the years including an impressively insightful David Bailey retrospective in 2014. To celebrate the centenary of Vogue Britain, established in the midst of the First World War, the NPG presents a glamorous walk through the decades of a magazine that has reflected a changing taste in clothing as well as the political, economic and cultural influences of the day. Last year’s Alexander McQueen show at the V&A – arguably the greatest fashion exhibition ever to hit London – has changed how the history of fashion is presented and, although there are no clothes on display here, its influence can be felt in the in both the curation and more dynamic design of this exhibition.

London’s art scene is doing a roaring trade in photography exhibitions at the moment; some such as the Imperial War Museum’s Lee Miller: A Women’s War, can be seen viewed as a companion piece to the Vogue show, covering some of the same images including those of Miller in her early days as a model as well as her military work during the Second World War. Other shows such as the brilliant Strange and Familiar at the Barbican cover much of the same period but offer two very different interpretations of the world. Haute couture fashion is often seen as ‘aspirational’ and much of the material on display at the NPG reflects how women wanted to look in particular decades and the pages of Vogue can be interpreted as a history of how Britain wanted to be seen – whereas Strange and Familiar shows us who we really were – and seeing both in quick succession is an eye-opening insight into the last 70 years.

Vogue 100 actually starts in the here and now with modern covers and unexpectedly a film showing models in close up, playing in a mirrored alcove so everywhere you look are reflections upon reflections (one of the elements surely inspired by the McQueen show). Then you can trace a path back through the decades of celebrities and approaches, ending up where it all began in 1916. Trendy as it may be, it wasn’t clear what this backward-looking approach was supposed to give us, so instead you can defy the crowds as I did and march yourself all the way back to the 1920s (there’s no exit here you will still have to walk back anyway) and start from there, seeing the developments in fashion, photography and in the magazine’s approach to the cultural world it represents unfolding before your eyes.

Whichever way you chose to go this is clearly an exhibition about the artists that have made Vogue what it is today rather than the story of its production, editorship or backroom dramas. Instead we see how popular culture was presented and influenced by the pages of this magazine through the choices of models, designers, photographers, celebrities and actual artists who drew works for the early spreads or, like Picasso, were featured in the magazine itself. In the unique world of Vogue this walk through the twentieth century sees hemlines rise and fall as quickly as empires, and economic shifts in the aftermath of war and depression that affect fabrics choices and shoot locations.

The 1920s and 30s show a selection of early prints in decorated glass cases which is a nice touch reflecting the particular style of each era and the major players of the day. From a dancing Fred Astaire to stylish swimsuits for men and women (an image recently used as the cover for a novel about Hemingway), from society “it girls” to Horst’s famous corset images – which you may have seen in Horst’s own retrospective at the V&A last year – this decades represent a stagey look to the images with models in formal, often classical poses against pillars or architecture that infer the silhouette of the outfit. Often ‘moody’, the use of lighting creates contrasts of light and shadow that add considerable atmosphere to the black and white prints, as well as an elegance that colour photos just never seem to emulate.

On to the 40s and the décor becomes a bold striking red as the NPG contrasts its war coverage of pilots and military workers with the New Look that Dior introduced after the conflict. It’s an interesting approach that offers both sides of the magazine’s work, although the Imperial War Museum’s exhibition on Lee Miller has all the best images actually. On the fashion side the increased use of sites of destruction to contrast the outfits is apparent particularly in Norman Hartnell’s work where elegantly dressed ladies stand in front of bomb sites as though to suggesting ‘fashion is indestructible’. Here also there is a greater saturation of bold colour advocated by those like Cecil Beaton who was a major influence on Vogue’s unfolding style. His 1946 image of a model dressed entirely in shades of red with red accessories against a red background entitled ‘The Second Age of Glamour is Beauty’ is a memorable example of this dynamic approach.

The full-skirted elegance of the 50s gives way to a much more relaxed approach to modelling in the 1960s as formal poses are replaced with ‘action’ shots of fashion in everyday lives. Twiggy of course will be familiar, careering along on a scooter or Jean Shrimpton relaxing in a series of coats for one shoot. New photographers were also part of this freer style with David Bailey in particular starting to document the more liberal times on location and with more experimental images.  By the time we reach the 70s and 80s it’s those experiments with colour and composition that seem to take precedence, and some of the more memorable images here are Claudia Schiffer on the back of a motorbike which in colour is a study in monochrome, and a model in a 20s-esque red bathing suite leaning on a swing which we learn was fashioned ad hoc on location, and harks back to that early image of the bathers on the platform.

Onto the 90s and the rise of the supermodel with that famous cover, and in more recent images you should get used to seeing that darling of British Vogue, Kate Moss who is everywhere. From the ‘heroin chic’ pictures that launched her more simple ‘every-girl’ look to the African Queen image of her in a desert, there’s no doubting her influence. As more and more magazines sought to challenge Vogue’s dominance, the photoessays become increasingly outlandish and surreal including a 40s bomber shown coming through a chintzy living room wall to advertise a khaki inspired trend and a stunning pink powder-puff shot of Lily Cole. Colour also continues to dominate as digital images allow even greater opportunities to retouch the pictures in pre-production, enhancing their fantasy-like suggestion and getting to the heart of that aspirational life Vogue has always wanted to present.

Vogue 100 doesn’t claim the magazine has profoundly changed the world, but for 100 years it has reflected society’s changing values while offering entertainment and escapism to its readers. While this show doesn’t tackle the story of Vogue itself or any of the controversies its pages unleash such as the size zero model and the doctoring of images by airbrushing to extremes it’s an interesting version of a history the magazine wishes to present. It has attracted important photographers including Horst, Cecil Beaton, David Bailey, Mario Testino and Patrick Demarchelier who have forwarded an artistic aesthetic that lifts what could have been a catalogue for expensive clothing to something more meaningful and inventive. And yes, it is all glossy photos of a world that doesn’t exist, but view it as an expression of a changing fantasy life and see it in partnership with the coincidentally contrasting show Strange and Familiar at the Barbican and both shows take on an added resonance that only adds to our understanding of the Britain we live in.

Vogue 100 is at the National Portrait Gallery until 22 May. Tickets are £17 without donation and concessions are available. Follow this blog on Twitter @culturalcap1


The Fashion World of Jean Paul Gaultier – Barbican

There are many things you might expect from an exhibition of Jean-Paul Gaultier clothing – Breton stripes, tartan, conical-shaped underwear – being greeted by a life-sized dummy with the projected face and voice of the man himself is probably not one of them. Yet this is one of the many innovations that make this new exhibition at the Barbican both bold and exciting. Covering 40 years of design from his time with the French fashion houses including a stint as Creative Director of Hermes, through the Eurotrash years, to the launch of his own fashion label in 1997, this thematically arranged collection, charts the development of Gaultier’s distinct and iconic style.

The first gallery is devoted to the Breton stripe and the various ways Gaultier has incorporated it into men and women’s fashion, from nautical association with bell bottom trousers to long evening dresses. All the dummies in this room have faces which move, talk and sing – giving more interesting presentation to clothes designed for real people. The expressive mannequins are both a dynamic way to present what could be a lifeless display of clothing, and somewhat creepy at the same time.

The next room showcases Gaultier’s work inspired by British street culture, and in particular the punk movement of the late 1970s / early 1980s. It is awash with kilts, denim, camouflage materials and studs with some repurposed as elegant ball gowns which make for an interesting contrast. There’s also a revolving cat-walk that dominates the room, allowing you to sit and watch the clothes pass by as though you were in the front row. The mechanics are little wobbly but you get the idea.

For some, the highlight will be the clothes designed for celebrities and these are in abundance –including Madonna, Kylie, Dita Von Teese, Lily Cole and Kate Moss. The Barbican always likes to give you a varied experience and I really like the way they have curated these rooms, with the clothes in the centre and high quality photography of said star wearing the outfit on the wall nearby. You’d be surprised how many fashion exhibitions fail to do this when it adds such great context to the bit of fabric you’re staring at. There’s some incredible Miles Aldridge prints in the first room, emphasising Gaultier’s collaboration with numerous photographers, models and artists. Upstairs, there’s also a number of film costumes which Gaultier designed such as The Fifth Element all displayed alongside video clips of them in action.

One of the things I really like about the Barbican is that a gallery visit is always good value and a lot of thought clearly goes into planning the best experience for the visitor. Information is well supplied, although in this case an exhibition guide is only available by app, with plenty of signs explaining the themes, as well as the individual pieces. Several of these tell you exactly how many hours the outfit took to create, a fascinating insight into the haute couture process – in some instances it was over a hundred hours and for the more stunning evening wear this topped 1000. Sometimes exhibited clothes can look a little warn close up, but here the workmanship and presumably a careful preservation process makes them look like new. The Barbican has also lavishly redesigned its grey concrete walls, adding plush velvet display cases and lighting to create an effect that enhances the clothes on display.

In addition to the clothes and a really good insight into the Gaultier aesthetic, you also get an interesting sense of how fashion ties into many other cultural forms, including music, film and photography. He’s worked with some of the world’s most famous people and, rather like the David Bailey retrospective at the National Portrait Gallery, this is a rare chance to see the culmination of forty years of collaboration and impact. Even better, the Barbican, unlike several other galleries, offers a range of ticket prices, some for less than £10, which will help to engage new audiences for which they should be applauded! The Fashion World of Jean-Paul Gaultier is certainly very stripy and this good value exhibition is a great place to meet the man himself, even if it is just a projected version.

The Fashion World of Jean-Paul Gaultier: From the Sidewalk to the Catwalk is at the Barbican until 25 August. Tickets are £14.50 as standard, with variously priced concessions including under £10 for students and schools.


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