As Seen in Vogue: A Century of American Fashion in by Daniel Delis Hill
By Daniel Delis Hill
This lavishly illustrated chronicle of yankee women’s models examines relationships among the mass-market ready-to-wear undefined, model journalism, and model advertisements. through the 20th century, those industries fueled one another’s successes by means of determining an ever-widening patron type and fanning the need to be trendy. Daniel Hill employs a wealth of fundamental resource fabric to rfile not just this symbiosis but additionally an evolution in American model, society, and tradition, as evidenced via greater than 600 style advertisements that seemed fashionable from the magazine’s debut in 1893 during the subsequent ten many years. those American vignettes rfile greater than the appearance and models in their eras; they display dramatic changes in women’s roles and self-image—witness the metamorphosis from alabaster Victorian homemaker to painted flapper in precisely a iteration, from conformist fifties mother to miniskirt-clad iconoclast just a decade later. during this accomplished research, Hill bargains a fathomless trove for model historians and pop-culturists, a useful source for college kids and execs in advertisements, advertising, and company background, and a distinct segment standpoint on cultural impacts for women’s reviews.
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Extra resources for As Seen in Vogue: A Century of American Fashion in Advertising
Similarly, the gored, bell-shaped skirt with a close fit over the hips also remained constant from the 1890s till around 1910, especially in ready-to-wear. ) Instead of innovative designs, the three changing modes that governed fashion styles of the Edwardian period were fabrics, ornamentation, and accessories. During the closing dozen or so years of the nineteenth century, Parisian couturiers designed fashions in the style tapissier. That is, the favored fabrics used in fashions paralleled those used for interior upholstery and draperies: stiff satins, taffetas, plushes, jacquards, toiles, and tapestries.
The resulting look, which fashion editors called the “straight silhouette,” emphasized a youthful, willowy slenderness. Vogue complained that only “a figure five feet six inches in height, weighing one hundred and twenty pounds might get away with this fashion, provided . . 13 The short dress, the dropped waistline, and the boxy, boyish silhouette would unite into a style that, combined with bobbed hair, skin-tone hosiery, and liberally applied makeup, would come to epitomize the look for women of the Roaring —38— Twenties.
2 As was discussed in the preceding chapter, the groundwork for what would become a symbiotic relationship of fashion and advertising was laid in the second industrial revolution of the nineteenth century. With improved manufacturing technologies, new ideas of flow production, and more efficient distribution channels, the fashion industry began to evolve from the limited market scope of handcrafted couture to mass production of ready-to-wear styles. Unlike with standardized products such as soap or toothpaste, fashion created new product models each season.