Tag Archives: Vogue

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


Lee Miller: A Woman’s War – Imperial War Museum

Lee Miller

At the end of both the First and Second World Wars women were frustrated that they were expected to give up the ‘man’s work’ they had been doing and return to being housewives or objects of delicate beauty. Nowhere is this more obviously ridiculous than in the case of Lee Miller who in the decade before the Second World War transitioned from model to Vogue fashion photographer before going on to become a leading photo-journalist during the conflict, eschewing her former lighter focus to join soldiers on the front line immediately after D-Day, photograph the death camps and travel across Europe in the aftermath of victory to picture the dispossessed and destitute.

Yet Vogue wanted her to go back to taking pictures of the re-emerging clothing lines and millinery, forgetting all about the woman and the artist she had become. An exhibition at the Imperial War Museum which runs until April cleverly charts Miller’s career, from brushes with early surrealism and friendships with Picasso and Hemingway, through her fashion years to celebrations of all kinds of women’s work on the Home Front and eventual documentation of combat and its effects, with accompanying articles written by Miller herself.

Running chronologically, it opens with family photos accompanied by the horrific story of Miller’s rape as a 7 year old and some borderline inappropriate nude shots of a teenage Miller taken by her father as art. Yet later, Miller would often pose nude and several pictures in this exhibition as well as a model of her torso are included which imply a possession of her body and image that might well be unexpected given her early violent experience. One picture shows her naked and covered in camouflage paint beneath some netting which, the IWM cheekily observes, was frequently shown to recruits in camouflage training. On a more serious note, these images help to make sense of her perspective as a photograph which not only understands the role of the model having been one but also in the way she implies both strength and character in her sitters. Whether they are pre-war clothes horses or female mechanics fixing a wireless in the midst of conflict, Miller’s sitters are multifaceted and nuanced women, far more than just a two dimensional image on a page.

One of the more interesting things to learn in this exhibition is just how cleverly magazines like British Vogue were used by the government of the day to influence the way women behaved. From encouraging shorter hair styles which were more suitable for factory life to aiding recruitment for particular sections of the women’s forces, Miller’s photographs inspired and directed the public to aid the war effort. One shot that looks like a fashion piece shows an ordinary female sergeant in uniform sitting in what looks like an airfield, the picture’s style has a sheen of Hollywood glamour but the subject is a working woman in the middle of the working day – and the notes say it did wonders for recruitment. Miller recorded a number of women from 1939-1945 showing the breadth and skill of war work, from nurses and mechanics to WRENS and, in a particularly atmospheric picture, the silhouette of two searchlight operators lit from behind by the lamp pointing to the sky.

The final section of the exhibition signals a major shift in Miller’s work and career; no longer the semi-posed images with a call-to-action for Britain’s women, but the photo-documentation of the consequences and aftermath of warfare on both soldiers and civilians across Europe. Miller graduates to a more serious tone with shots of wounded men being operated on in hospitals, footage from D-Day and sites of destruction in Cologne, Paris and Romania. In a short period she travelled extensively through central and Eastern Europe documenting the chaos and destruction that she found, whether the country in question was an aggressor or victim of the Second World War. Some of the most startling are from Germany with initial shots showing women hanging out their washing in what looks like a totally unspoiled landscape, but these sit next to the devastation the RAF caused in Cologne as two women smoke on a bench amidst the rubble of former houses. Harder still are the shots from liberated camps where German civilians had been forced to view the consequences of their administration. Miller observes them with a critical eye, giving little sympathy for the Axis powers, but providing a fascinating record of defeat.

The shots of Paris too are intriguing, with images of women, we are told, deliberately dressing well with elaborate hair and make-up as a show of defiance against the Nazi occupation. Interestingly, however, this was misinterpreted abroad, particularly here where these images were thought to show Parisians living it up while Britons suffered to help liberate them. The effects of war and the things she photographed took their toll on Miller, however which is also recorded towards the end of the exhibition, and like many of the combatants who served we learn that the things she saw had a lasting effect on her, resulting in bouts of depression and alcoholism which plagued her later years, until her death in 1977.

There are a number of interesting personal items belonging to Miller in the exhibition which along with various cameras include her US uniform, various letters from before and during the war, as well as items once belonging to Hitler’s mistress Eva Braun which Miller stole from their German home when she went to photograph it on the day of their suicide – including a dressing table set and compact. Through this exhibition it’s clear that Miller was quite a force and someone that worked tirelessly during the war to represent women’s lives in her work. These days it’s not at all unusual for a model to turn her hand to other kinds of work from acting to running major fashion and beauty businesses, but they’re never quite able to shake off the ‘former-model’ tag – whatever is written about them it is often preceded by these words, and it’s strange to think someone’s first job will forever define them, as if we’d equally refer to someone as ‘former-Sainsbury’s checkout girl’. Miller undoubtedly faced these obstacles 60 years ago as this exhibition implies and while it’s sad that little has changed, it is also admirable that she overcame them to produce such meaningful and insightful work. It’s not always the most cheerful story, but this exhibition charts Millers various lives extremely well and a chance to see a familiar war from a new perspective.

Lee Miller: A Woman’s War is at the Imperial War Museum until 24 April. Tickets are £10 and concessions are available. Follow this blog on Twitter @culturalcap1.


Horst: Photographer of Style – V&A

The V&A has had plenty of blockbuster exhibitions in the last few years, tapping into the popularity of celebrity figures such as Kylie and David Bowie, as well as a love of Hollywood costumes and haute couture.  These exhibitions have all been big and shiny with tons of interesting items, but – and this is a huge but – they have been badly curated with next to no information on the pieces or the thematic structure. Of course it’s all in the expensive guide available in the shop, not that this helps you in the exhibition. And sadly this has become a common tactic in big London galleries, forcing you to pay more if you want to understand what you see.

It was with some trepidation therefore that I went to their new show of Vogue photographs by Horst P. Horst, and I was pleasantly surprised. This is a carefully planned exhibition which manages to be both roughly thematic and chronological, giving you a sense of how Horst developed as a photographer, as well as showing how he reflected changing attitudes and styles in his work. It begins in the 1930s with formally posed models pictured in backdrops reminiscent of classical styles alluding to ancient Greece or Rome.

Horst was incredibly skilled at creating mood in his work, cleverly composing scenes like a painter, using light and shade to infer a sense of drama beyond that shot – as though the statuesque subject is in the midst of a wider story. It’s an interesting contrast between the somewhat unnatural pose and the narrative being created around it. At the end of this first room are examples of designer dresses from famous fashion-houses, not immediately relevant to Horst’s pictures, but gives an interesting sense of the groups he worked with and the glamour / femininity of the time. And any excuse for the V&A to showcase its extensive fashion collection is always welcome.

In the second set of rooms we see Horst experimenting with technique by layering images over one another to create surreal visions. He also looks beyond the surface glamour to photograph models undergoing various beauty treatments simultaneously, so they are covered in creams while attached to numerous electrical devices to primp and perfect.  You also see him retouching shots including the famous woman in corset (Mainbocher Corset) to change both the lighting and the fit. Alongside this, Horst retained his reputation for glamour by photographing some of the leading celebrities of the 40s and 50s including screen sirens Marlene Dietrich, Rita Hayworth, Bette Davis and Joan Crawford.

After the war, Horst began to explore different subjects and the exhibition includes his travel photography from the Middle East showing ancient monuments, artefacts and views, as well as his love of the natural world. This section shows a number of collages created from a single image printed over and over, and placed together at different angels to create larger symmetrical patterns. Throughout the exhibition you’re given a clear idea of how many of the images were altered for publication, showing that retouching is by no means a 21st-century phenomenon.

Most of this exhibition is in black and white, so when you walk into one of the final rooms the boldness of the colours is even more striking. This is filled with rarely-seen large-scale prints which burst with energy and pose an interesting contrast to the more statuesque formality of Horst’s black and white work. Some of these you’ll have seen on the posters – the girl balancing a beach ball on her feet, another fixing her lipstick – but there are many more which beautifully capture Horst’s technique of playing with shadow all the while emphasising the glamour of his subject; be it the fashion or the model.

Overall this is a nicely curated exhibition and in keeping with other such retrospectives, including the Portrait Gallery’s David Bailey show earlier in the year, where we learn as much about the photographer as we do about changing taste in the twentieth-century. Part of the reason for its success is the approach to Horst’s work here covering its many elements and his willingness to experiment. As for the V&A’s disappointing record of late, well I’m not ready to entirely forgive them just yet, but let’s say this is a great first step on the road to recovery.

Horst: Photographer of Style is at the V&A until 4 January. Tickets start at £9 with concessions at £6 and £7.


Isabella Blow: Fashion Galore – Somerset House

I have to confess, I had no idea who Isabella Blow was when I went to this exhibition but I was intrigued by the description on the website and a rare chance to see a private collection. I’ve had mixed experiences with Somerset House fashion events; the Miles Aldridge prints earlier this year were beautiful and very nicely put together, but the 2012 Valentino show was a big let-down. Lots of pretty dresses, some worn by famous people, but next to no curation, sense of chronology or information about the inspiration, purpose or history of the garments.

Thankfully, this is quite different. It begins with some sensible background on Isabella, her aristocratic upbringing and early life clearly a useful means to promote the designers, photographers and models she took under her wing when she eventually worked for Vogue, Tatler and the Sunday Times. So this is her wardrobe, a unique collection of clothes, hats and shoes interspersed with letters, photographs and video. Most famously she brought Alexander McQueen’s entire student collection, several pieces of which are displayed here, and as his clothes dominate the exhibition this was clearly an important relationship for both them.

Similarly, she helped to launch the career of milliner Philip Treacy whose spectacular hats are the most striking part of the collection. Whatever your views on the validity of fashion as an art form, Treacy’s innovative approach to hat design and sculptural form is incredible; it’s not just the use of strange materials and the creation of unexpected shapes, but through unusual placement and designs that extend beyond the head, he has changed the purpose the hat from a functional item to an artistic statement. My favourites were butterfly themed, first an eye-mask, a beautiful red and gold creation that covers one eye with tendrils curling perfectly away from the face, and another with a swarm of red butterflies around the head. You can also see the inspiration of Rolls Royce (who sponsored an early show) through some sleek and beautifully designed pieces early in the exhibition.

Somerset House has done a good job with this one, the shape of the exhibition is great, early influences, to main collection, to pieces inspired by Blow, all cleverly displayed. I also liked the photographs of models Blow had discovered, suitably presented in a separate room to maintain focus. Using different types of exhibit emphasised her varied contribution to the fashion industry. Vastly improving on the Valentino exhibition, each outfit is given its own space, and, crucially, plenty of information. And although these rooms are filled with items created by other people, you do leave with a sense of Isabella Blow’s character – dynamic, eccentric and innovative – eager to support talented people. I may not have known who she was before, but I’m glad I got the chance to find out.

Isabella Blow: Fashion Galore is on at Somerset House until 2 March. Full price entry is £12.50.


Miles Aldridge: I Only Want You to Love Me – Somerset House

Close-up on the profile of woman. She’s wearing a hat with a veil that covers her nose. Smoke billows from her thickly painted lips, and the whole scene is washed in shade of violet blue. A few meters away a woman stands on a chequered kitchen floor. All you see is her ankles and feet in Wizard-of-Oz-like shoes, and between them a bottle of Heinz ketchup has smashed splattering blood red sauce on the ground. These are just two of Miles Aldridge’s photographs at a Somerset House retrospective celebrating his hyper-coloured and intriguing fashion shoots.

This is a small exhibition but there’s plenty to see as you view one doll-like woman after another, emphasising the tension between the ‘high fashion style and sense of hopelessness’. Each image is taken from a longer fashion spread, but has an individual story – at the centre of which, Aldridge explained, are ‘close-ups of a woman’s face thinking, and she’s realised that her whole world is wrong’. And this effect is very cleverly achieved. Each picture is vibrantly coloured but drained by the plasticity or deadness of the model’s expression – she’s there but not there, creating instead a sense of sadness and emptiness.

Aldridge is influenced by film noir, Hitchcock and David Lynch, portraying troubling scenes in glamorous ways. When planning a shoot, he hand-draws a storyboard to ensure the final images will almost exactly match his imagined version. There are good examples of this and copies of the final spreads. Some of the best are First Impressions, shot in a supermarket, where Stepford-Wife-like woman with trolleys are posed in front of mundane but highly colourful displays of margarine or washing powder.

There’s not much explanation of the images, presumably so you’ll buy the expensive accompanying book, but you don’t need it to enjoy the photos. The gallery walls were painted in different bright and pastel colours to enhance the image they displayed which was a nice touch. If you’re going to Somerset House, there are also some free exhibitions as well as the Courtauld collection, so you can make an afternoon of it.

Miles Aldridge: I Only Want You to Love Me is at Somerset House until 29 September and costs £6. The Courtauld is also £6, but there are also several free exhibitions in other galleries.


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