The conference Reading Fashion Magazines may be over, but our display of 9 items from the collection is still available to be viewed outside the Courtauld Library vitrines. Please come and visit, before it closes in August. In order to tempt you, you can read the introduction to the display, and our conference, below, available for you to download in a pdf.
What is your title?
The title of my dissertation will probably still change. However at the moment I am going with How very British: National Identity in Norman Parkinson’s fashion photography for Vogue, 1950-1952. Parkinson produced some stunning images for different spreads, many of which lend themselves really well to a study of British national identity. Delving a little deeper into these specific images, Parkinson’s biography and the history of 1950s Britain has been great fun.
What prompted you to choose this subject?
The topic stemmed from a mixture of previous interests and pure chance. I had no pre-conceived idea of what I wanted to look at for this dissertation. However, I always studied World War II and the Cold War when I had the chance as an undergraduate, so I knew I wanted to stick within that time frame. Couple this with my love of 1950s fashion and elegance, and the random selection of a beautiful book on Norman Parkinson whilst browsing the stacks at the Courtauld and – ta dah! – the dissertation title was born. I had also wanted to be practical about my choice and choose a topic that would enable me to make the most of London based archives. Norman Parkinson has his own in south London (big shout out to the lovely and wonderful people that work there!), so it all came together beautifully.
Most interesting research find thus far?
I believe I read in Parkinson’s book that Irving Penn babysat Parkinson’s son. As you do. No big deal. On a more serious note, I am still continually blown away by how clever his images are. They seem so simple at first glance, and then, the more you look, the more you realise just how good he was in expressing a certain image, feel or identity to a wide range of readers. This was especially interesting with regards to the way in which his photographs for a 1951 South Africa spread differed, or were used in a different way, from the May edition in British Vogue to the July edition in American Vogue. On a side note I have become obsessed with an image that I’m not even using in my essay. It is just too stunning. Everyone- google “Carmen’s Armpit” and you will understand! Or not, in which case it is just my inner dress history nerd coming to the fore…
Favourite place to work?
I would love to say that it is The National Arts Library in the V&A. It surely wins the award for most aesthetically pleasing place to study- but I tend to be freezing cold in there, so sadly it loses out. I rather fluctuate between the Courtauld Book Library and my home. This arrangement provides the perfect balance between the comfort of home (sneaking a couple of biscuits and copious amounts of tea) and the beautiful comradeship between all Courtauld students during dissertation time in the library. We all really share the stress and joys of the process and that is unbelievably valuable as you are working. *Insert cheesy violin music here!*
What is your title?
Billy Rose’s Aquacade & The Search for American Identity
What prompted you to choose this topic?
For my dissertation, I am looking at American identity in the costumes of ‘Billy Rose’s Aquacade’, which performed during the 1939 and 1940 New York World’s Fair. Not being aware of the Aquacade’s existence until recently, I came across this topic by chance. During the past year, I have spent considerable time researching American fashion and identity and knew I wanted to continue exploring the subject. When looking for an American film clip archive, I came across the Prelinger Archive, which was founded by Rick Prelinger in 1982 in New York City and consists of around 60,000 ephemeral films. The archive contained amazing amateur films of the New York World’s Fair, which also showed the Aquacade. The Aquacade was the most extraordinary show that I had come across for a long time. Its vast array of different acts included synchronised swimming, diving, dance, skating, fashion, clowns, and performances by important athletes of the time, including Esther Williams and Johnny Weissmuller. Due to its extravagant declarations of Americanness, the Aquacade provides invaluable insight into American identity around the start of World War II.
Most interesting research find so far?
One of the most exciting parts of my research has been analysing the use of the American flag and American symbols as an expression of American identity in the Aquacade. During the first New York World’s Fair season, World War II broke out in Europe. Even though the United States did not enter the war until 1941, the American government realised that the US needed a defined identity to be able to unite its people in patriotism. As the US did not have strongly embedded traditions and copied European ideas and design styles until well into the 20th century, identity had to be based on something other than traditions that could be considered unequivocally American. Therefore, American identity focussed on history and symbols, including the American flag and the Statue of Liberty. The Aquacade incorporated the colours, stripes and stars of the American flag in its costumes and props, and even showed 48 dancers dressed as the Statue of Liberty – one for each state (Alaska and Hawaii only became states in 1959).
Favorite place to work?
Even though I am writing on an active performance with important athletes, I have barely moved myself since starting my dissertation work. I have always preferred writing at home as I like the comfort and endless supply of tea and prefer not to have any distractions. As such, I have been living like a hermit, only leaving my room for food and tea.
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.
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!
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.
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.’
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!
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.
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).
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!
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.
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.
If the thought of summer dressing makes you think of cotton floral frocks with full swingy skirts you may have Horrockses to thank for that image. One of the most popular dress lines in Britain and in America in the late 40s and 50s, Horrockses Fashions was known for its cotton prints manufactured in their own mill in Preston, Lancashire. The mill dated back to 1791 and by the early 20th century was established as a trusted manufacturer of cotton goods, mostly household linens. To expand their sales of manufactured goods into the lucrative fashion market, the parent company Horrockses, Crewdson & Co. Limited launched the Horrockses Fashions ready-to-wear line in 1946. Horrockses had the goal of increasing desirability for their fabrics and then satisfying the demand with their own products. Their vertically integrated business model ensured commerce at multiple points in the market.
Horrockses Fashions were best known for their day dresses though they also produced housecoats, beachwear, and evening dresses. As these examples show, there came to be a distinctive Horrockses silhouette for the dresses consisting of full skirts, tailored bodices, and defined waists which shows the influence of Christian Dior’s New Look that debuted in 1947. Floral patterns, particularly roses, bows, and bands of print or bayadere, were signature motifs repeated every season which also borrowed heavily from Dior’s aesthetic.
To mitigate against the low-end connotations of mass-produced clothing, Horrockses carefully followed the lines, silhouettes and trends of the couture collections shown in Paris and London. Cottons were accessible fabrics that had the weight and drape to create the New Look silhouette but with a softer, more casual result. The dresses were made of high-quality cottons which were washable much like synthetics on the market. Horrockses thus combined the easy-care of sportswear with tailored, sophisticated cuts associated with couture to bring the consumer “the best of both worlds.”
Horrockses Fashions differed from Dior and other couture houses in their frequent use of bright, playful prints which were generally highly stylized and abstract. The company avoided unsophisticated connotations with their prints by aligning them with art, using exclusive designs by leading British artists including Eduardo Paolozzi, Graham Sutherland, and Alastair Morton.
At the symbolic level, voluminous skirts signalled plenty while the summery florals bring associations of vacations, resort, and weekend leisure which put the dresses at a clear remove from workwear. Instead, Horrockses dresses correlated escape, fun, and exuberance with style, elegance, and femininity. In the British post-war context, with rationing still in place into the early 1950s, Horrockses dresses were viewed as a splurge for an occasion such as a honeymoon. In the American import context, however, Horrockses Fashions fit in perfectly with the broader cultural landscape of social change in the 1950s when the country prospered economically and disposable income increased across class strata. The economic boom brought increased choices in manufactured goods which in turn increased consumerism. An accompanying urban out-migration led to the rapid development of suburbs and the American dream of home-ownership became a reality for many. Suburban houses came with front lawns and backyards where barbeques, pool parties, and gardening took place, providing a lifestyle scenario complementary to the look of Horrockses dresses.
The colourful aesthetic of Horrockses Fashions reflects the circulation of intensely saturated color images in print and film due to Kodachrome and Technicolor processes. The wide scale of the skirts, too, abundant with fabric, seem to reflect the various widescreen film formats that enticed audiences into movie theatres and drive-ins to see historical epics, westerns, and melodramas. Full-skirted, brightly-colored, patterned dresses such as those of Horrockses are like costumes for living life as it was depicted on screen: monumental, colourful, dramatic.
Horrockses dresses typically were produced in runs of 1,000-1,500. Despite being mass-produced, the Horrockses ready-to-wear line had an air of exclusivity established through use of select retailers, exclusive prints, quality fabric, and well-cut and designed garments. The image of quality always tied back to their own cotton manufacturing. Horrockses Fashions advertisements regularly featured the sub-heading, “in fine cotton” under the brand name, underscoring excellence in their product. The eminence reserved for couture was also accorded to Horrockses dresses in some measure by its royal selection. Images of Queen Mary at the Horrockses showroom in Hanover Square and of Princesses Elizabeth (later Queen Elizabeth II) and Margaret wearing the dresses cemented the company’s image as respectable, feminine, and desirable. Editorial features in top fashion magazines also buoyed up Horrockses reputation as fashionable.
Though the name Horrockses might not be familiar to many today, their legacy is alive and well in contemporary fashion. In a Telegraph article by Katherine Rushton on April 20, 2013, the impending sale of the Horrockses company was discussed. The article states, “Horrockses vintage dresses had tapped into a growing demand for prom outfits, and that there was strong demand for newer versions…’These dresses are going on eBay for £250 each, they are part of Britain’s heritage.’” Hit television show Mad Men also likely whetted consumer appetites for mid-century style. It is not surprising then that in the past year, ready-to-wear line Maje featured lace dresses with “puff-ball” skirts in a bayadere style and Ines de la Fressange’s S/S 2017 line for Uniqlo featured full-skirted dresses in floral and gingham patterns, similar to what it has done in recent seasons. The Horrocks label was briefly resuscitated as a housewares line that sold at House of Fraser. Exhibitions of Horrockses Fashions have been mounted at the Harris Museum, Preston (2011) and the Fashion and Textile Museum, London (2010).
Boydell, Christine. Horrockses Fashions: Off-the-Peg Style in the 40s and 50s. London: V&A Publishing, 2010.
Burden, Rosemary and Jo Turney. Floral Frocks: The Floral Printed Dress From 1900 to Today. London: AAC Art Books, 2007.
Arnold, Rebecca, ‘Wifedressing: Designing Femininity in 1950s American Fashion,’ in Glenn Adamson and Victoria Kelley, eds., Surface Tensions: Surface, Finish and the Meaning of Objects, (Manchester: Manchester University Press, 2013), pp.123-33.
For the past few years, London’s galleries have been hosts to some incredible fashion exhibitions, luring visitors from every corner of the world to pore over their sartorial treasures. With the dawn of a new year, however, a new city is emerging as the latest fashion destination. From January 6 until March 19 2017, Liverpool’s Open Eye Gallery is showcasing North: Identity, Photography, Fashion, an exhibition curated by SHOWstudio’s editor Lou Stoppard and Adam Murray, a lecturer at Liverpool John Moores University. Prompted by the impact the North of England has had on fashion, music, design and art the world over, as well as the clichés associated with the area, the exhibition explores and challenges these dominant themes, asking the visitors to come to their own conclusions. The heritage of the North is unpicked through photography, historical films, interviews with its artists and designers, garments, fashion magazines and music, highlighting the impressively far-reaching influence of the region, one which is seldom acknowledged, ignored even, in the capital city oriented fashion world.
With Stoppard and Murray not being full-time curators, the organisation of the space is free of restrictions and preconceptions of seasoned professionals, allowing for a fresh take on the potential of exhibitions. The rooms have a relaxed vibe, a coolness about them, which one can already sense getting off the train at one of Liverpool’s stations and walking through its streets to reach the gallery. It feels very authentic, honest and respectful in its representation of England’s North, a much welcome relief from the sometimes derogatory mentions the area gets in the media. Walking through the exhibition, admiring the prints by fashion’s favourites Jamie Hawkesworth, Alasdair McLellan and David Sims while being slightly amused by Alice Hawkins’ genius portraits of Northern teen girls or perusing the editorials in i-D, Arena Homme+, Vogue and The Face, all inspired by the visuals of the region and displayed in custom-made Sheffield steel vitrines (not a single detail escaped the curators), one starts to question the lack of credit given to cultural centres outside of London. Even musical legends such as Morrissey, The Stone Roses, New Order and Oasis, who have conquered the world with their sounds, (and who rightfully have their own pride of place within the exhibition) grew up and formed within the North’s energetic environments. No one can dispute that the talent which hails from and is inevitably profoundly influenced by the North of England enjoys great stature worldwide, yet their origins are often forgotten. Fortunately, North brings the talent home again.
The magnitude and the wealth of visuals the North provides the world with becomes even more apparent upon entering the fashion gallery. Garments from the Belgian Raf Simons, German adidas and American/Milanese/Ghanaian Off-White c/o Virgil Abloh all clearly show signs of the North, emphasising its crucial and international role. On display are various versions of the adidas Samba and ZX trainers dedicated to Northern cities. Elsewhere, an Off-White knit pays tribute to the Gallagher brothers, while a Raf Simons Autumn/Winter 03 parka with a print of New Order’s ‘Power, Corruption and Lies’ album cover designed by Peter Saville hangs nearby. The parka can still be bought online, though it does fetch $20,000. Who said the North wasn’t fashionable? Add the giant steel columns created by Abloh and Ben Kelly, the designer of Manchester’s iconic Hacienda nightclub, interior of which was a starting point for this installation, which, complete with Abloh’s signature chevron, dominate the facade of Open Eye Gallery, and the North of England is firmly secured on fashion’s radar.
There are many other gems scattered around the exhibition space. A small Panasonic TV from decades past screens an extract from Corrine Day’s diary, where the late photographer reminisces about her shoot for Dutch magazine in 2001 titled ‘A British Summer: Blackpool 2001’ featuring Kate Moss, George Clements and Rosemary Ferguson. A 1939 short film named ‘Spare Time’ documents the people of Sheffield, Manchester, Bolton and Pontypridd in the in-between times when they are not working in the towns’ famous industries. Watching the movie sat on a park bench, headphones on, you get sucked in, almost feeling as though you are in the film yourself, observing the goings on, being a part of the daily Northern life. Yet the biggest surprise is upstairs. The room is transformed into an old, seventies maisonette, complete with lace curtains, a floral print armchair, a bed with an embroidered throw, a giant wooden cross, shaggy carpet and old rotary dial telephones prompting the visitors to pick them up, revealing sound bites by Northern creatives such as Stephen Jones, Christopher Shannon, Claire Barrow and Gareth Pugh in which they look back at their upbringing and the importance of the North of England in their life and work. It is a charming corner to relax in, take a trip down memory lane, meet the locals and ponder on the importance the North of England has on the country’s image. Perhaps just this little refuge in a twenty-first century city is a reason enough to return for another visit. As Gary Aspden remarks in his interview upstairs, “all roads lead back to the North.” This exhibition is a testament to that. So do yourself a favour, brave the almost five hour long round trip from London and visit the Open Eye Gallery. Believe me, it is worth it!
‘North’ on SHOWstudio.com
The centenary year of British Vogue saw numerous celebratory events, from a bumper June issue covered by the Duchess of Cambridge to a retrospective exhibition at the National Portrait Gallery, a BBC2 documentary punnily titled Absolutely Fashion and a Vogue Festival featuring Grace Coddington, Gucci’s Alessandro Michele, Kim Kardashian and Charlotte Tilbury as speakers. Inside Vogue – the final treat of this momentous year for the magazine established in 1916 – is a personal account of the hard work that went into these events, the pressure, frustrations, and challenges faced in doing justice to Vogue’s legacy.
A rich picture is painted by Inside Vogue’s author, editor-in-chief Alexandra Shulman. What could have easily have hit shelves as a puffed-up piece of marketing is in fact peppered by nuanced criticisms. Absolutely Fashion’s narrator is rightly a cause for concern, as is rogue photographer David Bailey, though real indignation is reserved for the hypocritical jabs at Vogue’s portrayal of women made by The Daily Mail’s Liz Jones and Sarah Vine. Beauty confessions (‘I can only stick so far to “Il faut souffrir pour être belle”. The less souffrir going on the better, I feel.’) and reminiscences about growing up as the daughter of features writer Drusilla Beyfus and theatre critic Milton Shulman are interrupted – as even the most fabulous working lives are – by domestic chaos, spontaneously combusting bins and failing boilers.
Structured as a diary, Inside Vogue also provides a valuable first-hand account of what is takes to produce a contemporary record such as Vogue magazine. How best to showcase Vogue’s contribution to readers’ awareness of contemporary conversations, culture and styles, and determine which faces from the worlds of fashion, art and music most deserve places in Tim Walker’s ‘hall of fame’ shoot? How to do this in the face of a digital revolution, with new challenges for print publishing; how to fight for a gold foil-embossed logo on instinct alone? Shulman’s accounts of her meetings with the Duchess of Cambridge will likely prove an essential source for our understanding of (and indeed future studies on) the representation and role of the royal family in these times. That the palace is easier to deal with than Naomi Campbell and David Beckham is just one takeaway.
Although Shulman makes clear the account is somewhat polished, not unlike Instagram – ‘everything we put out about ourselves is edited’ – there is plenty here to delight, intrigue, and learn about what life is like at the helm of Vogue, that powerful force in documenting fashion.
Cara Delevigne dominated the front cover of the February 2014 edition of Vogue Brasil, which was shot by the internationally-acclaimed Brazilian fashion photographer Jacques Dequeker. Dressed in a sparkly blue minidress by the Brazilian brand Bo.Bo., and accessorised with heavy gold jewellery designed by Lanvin and Dior, she is framed, hands on her hips, against the colourful backdrop of the Santa Marta favela. The Santa Marta favela (commonly referred to in Brazil using the more politically correct term ‘morro’, which translates literally as hill) occupies the Botafogo and Laranjeiras region of the Dona Marta hill in Rio de Janeiro. It received global media attention in 2010, when Dutch artists Jeroean Koolhas and Dre Urhahn (known as Hass & Hahn) collaborated with local residents to paint 7,000 square metres of the morro’s façade in contrasting shades of the rainbow. A symbol of pride for the local community, the Santa Marta art project featured throughout the 12-page Vogue Brasil editorial, which was entitled ‘Face to Face with the Favela: the Santa Marta hill serves as the scenario for Cara Delevigne to wear statement pieces of the season, showing that streetwear couture is the trend of the moment’.
It is not difficult to point out the strikingly asymmetrical dynamics of power in operation between the British supermodel – posing in a combination of mid to high-end Western and Brazilian fashion labels that include Prada, Chanel, Adidas Originals, Bo.Bo., Starter, Valention and John John – and the socioeconomic realities of local residents, whose own creative sartorial expressions were noticeably absent from the frame. Furthermore, it is certainly not uncommon, within ‘Western’ fashion magazines, to come face to face with similar stereotypically ‘exotic’ fashion shoots, which replace the immaculate studio for various ‘non-Western’ backdrops and cityscapes that provide an edgy and endlessly intriguing locale to display Western fashion for the curious Western viewer. Sarah Cheang discusses this at length in her fantastic article, entitled ‘’To the Ends of the Earth’: Fashion and Ethnicity in the Vogue Fashion Shoot’, wherein she comments that Western fashion frequently constructs its ‘other and self-defining conceptual opposite’ through shoots in, for example, ‘dusty Palestine, rural India, or mountainous Peru’.
But what are we to think when Vogue Brasil, with forward thinking Editor-in-Chief Daniela Falcão at the helm, turns that curious Western gaze upon itself, using the morro Santa Marta as an exotic and colourful backdrop to spice up the pages of the magazine? Certainly, there is a considerable distance between the Brazilian viewer (predominantly white European-descended women with cultural and economic capital), whose social and material reality is far divorced from that of inhabitants of the colourful morro Santa Marta, a setting which is sure to have had a cheerful aesthetic appeal for a Vogue Brasil readership. Nevertheless, it is important to situate the magazine within the cross-cultural context from which it emerged in 1975 and has since developed. Brazil is a country that sits intriguingly in between the West and the so-called non-West. In geographical terms Brazil is certainly a Western nation. Moreover, it is affiliated with the West in terms of its developing free-market economy, its large export supplies of raw materials and manufactured goods, its transition to a democratic constitution following the end of the authoritarian military regime in 1985, its high cultural institutions, and its adoption of Christianity and the Portuguese language. Yet Brazil might still be considered a non-Western nation with regard to its incomplete infrastructure, socioeconomic disparities, unequal distribution of wealth and land, poor standards of public health, and its popular and material culture which constitutes, as David Hess and Robert DaMatta have succinctly articulated, a unique site in which ‘Western culture has mixed and mingled with non-Western cultures for centuries’.
So taking this cross-cultural context into account, is it possible to discern any critical engagement in Vogue Brasil with Western and non-Western academic debates that have used the term ‘auto-ethnographic’ text or ‘auto-exotic’ gaze to refer to the way that non-Western cultures often look at themselves with Western eyes, turning their culture into an exotic product that they then offer back to the West? Mary Louise Pratt coined the term ‘auto-ethnography’ or ‘auto-ethnographic’ and used it to describe ‘text[s] in which people undertake to represent themselves in ways that engage with representations others have made of them’. These auto-ethnographic texts involve ‘a selective collaboration with and appropriation of idioms of the metropolis and conqueror. These are merged or infiltrated to various degrees with indigenous idioms to create self-representations intended to intervene in metropolitan modes of understanding’. There are numerous tropes to draw upon to demonstrate how the West has produced an exoticised image of Brazil as a site of cultural difference, usually centered on Rio de Janeiro, and on the themes of sun, sea, Caipirinhas, Copacabana beach, skimpy bikinis, and the drugs and violence associated with the favelas. So in placing this fashion shoot within the morro Santa Marta, Vogue Brasil was engaging with a well-established stereotype of Brazil that is frequently seen in the Western media; the only difference is that the violence and gun crime has been eclipsed by the dazzling beauty of the rainbow coloured buildings. Pratt writes that ‘auto-ethnographic works are often addressed to both metropolitan audiences and the speaker’s own community’ and deduces that ‘their reception is thus highly indeterminate. In using Cara Delevigne as the model, Vogue Brasil knew that this shoot would attract the attention of the Western media, which it did, appearing in newspapers such as the Daily Mail, to cite but one example, in an article by Louise Sanders entitled ‘Favela funk! Cara Delevingne rocks her signature edgy style in vivid neon brights as she works her magic in street shoot for Vogue Brazil’. Although the title suggests the Daily Mail struggled to pick up on the critical message of the shoot it nevertheless constituted, as Pratt has pointed out, ‘a marginalised groups point of entry into the dominant circuits of print culture’.
Therefore, whilst it might be easy to either dismiss this fashion shoot as an instance of Vogue Brasil following in the footsteps of Western fashion magazines, which marginalises the everyday experiences of local residents of the morro Santa Marta or, conversely, to celebrate it for its eye-catching images that frame Cara Delevigne against an intriguing backdrop, I would argue that something altogether more complicated is taking place. If understood as an auto-ethnographic text, then this shoot mobilises a far more interesting dynamic of cross-cultural contact between Brazil and the West that warrants further examination, in which Brazil is perhaps no longer subordinate to the West, but instead uses its own cultural productions to subtly fight back.
 Anon., ‘De Cara com a Rua: o morro Dona Marta serve de Cenario para Cara Delevigne vestir peças statement da temporada que, usadas com outras de dna Atletico, imprimem o streetwear couture que e tendencia da vez’, Vogue Brasil, February 2014, pp. 140-151.
 S. Cheang, ‘’To the Ends of the Earth’: Fashion and Ethnicity in the Vogue Fashion Shoot’ in Fashion Media: Past and Present, ed. By D. Bartlett, S. Cole, and A. Rocamora (London: Bloomsbury Academic, 2013), pp. 35-45 (p. 35).
 D. J. Hess and R. A. DaMatta, ‘Introduction’ in Brazilian Puzzle: Culture on the Borderlands of the Western World, ed. By Hess and DaMatta (New York: Columbia University Press, 1992), p. 2.
 M. L. Pratt, Imperial Eyes: Travel Writing and Transculturation, 2nd edn (New York: Routledge, 2008), p. 8.
 Pratt, Imperial Eyes, p. 8.