5 Minutes With… Violet Caldecott

As it nears the end of term, we’re spending some time getting to know the current MA Documenting Fashion students. Violet discusses James Barnor, the Swinging Sixties, and photography as a means of resistance.

What is your dissertation about?

I wrote my dissertation on British-Ghanaian photographer James Barnor and his capturing of Black Britain in the 1960s. I first came across his work in February when I saw his image Wedding Guests (below) on Pinterest. I was struck by the innate poise of the two female subjects, who in their meticulous attire and polished appearance, are the epitome of 1960s cosmopolitan glamour. I love the quietly revolutionary quality of his images. Whilst they are not politically or racially charged on the surface, in their depiction of everyday people, posing amongst the streets of London, they would have proved extremely powerful in both contemporary and post-colonial contexts. There is a retrospective of his work on at the Serpentine Gallery at the moment. Very fortuitously, it opened two weeks before my dissertation was due. It was incredibly exciting to see his images in the flesh. The show has been really beautifully curated, illuminating the multi-dimensionality of Barnor’s work through a diverse range of images from his six-decade career.

James Barnor, Wedding Guests, London, 1960, Photograph © Autograph ABP 

Who is your favourite designer?

Ossie Clark. I love the elegant cut, drape and flow of his pieces. Born in Liverpool in 1942, Clark quickly became known as a pioneer of London’s Swinging Sixties cultural revolution.  His designs offered a more romantic alternative to Mary Quant’s short hemlines, block colours and geometric prints. I came across a silk co-ord designed by him in a vintage boutique on the Portobello Road a couple of weeks ago. Consisting of a pair of billowing high-waisted trousers and a short-sleeved Peter Pan collar top, cinched in by a silk sash at the waist, it is my dream ensemble. The cut and fit are far superior to any item of clothing that I have ever worn. Perfectly proportioned and meticulously tailored around the waist and shoulders, I feel as if it was made for me. Clark really understood the female form. My dream is to become a collector of his pieces.

Ossie Clark with Gala Mitchell c. 1960s, Ossie Clark with Judy Guy Johnson and Patti Boyd c. 1960s, accessed via AnOther Magazine

Favourite dress history photograph?

This is a tough question as I have so many. But with regard to dress, the image which I find myself coming back to is the photograph Neil Kenlock took of Olive Morris in 1973. Morris was a political activist and community leader, known for the part she played in the Squatters Movement and her founding of the Brixton Black Women’s Group in 1973. Very sadly, she died aged 27, but in her short life, she achieved an incredible amount. In this image, there is a real sense of her presence as an individual. In faux jacket, worn jeans and assortment of bangles, she appears confident and at ease. It possesses a snapshot quality with the viewer a voyeur looking in at an intimate moment in this remarkable woman’s life. She smokes a cigarette as she huddles by the electric radiator to keep warm. It seems like there is an interaction between her and Kenlock as she beams leaning slightly towards the camera. I love the idea of photography being a collaborative venture between the subject and photographer, with the viewer is privy to the intimacy of their relationship.

Neil Kenlock, Olive Morris, London, 1973, Photograph © National Portrait Gallery, London 

What is your favourite thing that you’ve written/worked on/researched this year?

In the first semester, I was introduced to the concept of photography as a means of resistance, and within this, the role clothing has played as a means to self-fashioning identities for oppressed groups within society. This fuelled an interest in Stuart Hall’s ‘politics of representation’ which I have applied to different periods and in varying contexts throughout the year. My first essay was on Harlem Renaissance portraiture and how the representational power of the genre was harnessed by various artists of the period to illuminate the complexity and multi-dimensionality of being African American at this time. I was particularly drawn to James VanDerZee’s studio portraits of glamorous young Harmelites. Posing in elegant 1920s clothing against elaborate backdrops, they drew together the different fragments of their diasporic identity in one visual narrative. I’m fascinated by the concept of the tiniest sartorial details having the most significant meaning to the individual and how this can translate to the outside eye.

James VanDerZee, Couple, Harlem, 1932 © Museum of Modern Art, New York

 
Sources
Carol Tulloch, The Birth of Cool (London: Bloomsbury) 2016
 
https://www.anothermag.com/fashion-beauty/8992/the-fabulous-femininity-of-ossie-clark
 
https://aperture.org/editorial/how-james-barnors-photographs-became-symbols-of-black-glamour/
https://www.nytimes.com/2019/10/30/obituaries/olive-morris-overlooked.html

Yva and Helmut Newton: Haptic Seeing

Last week, I watched Helmut Newton: The Bad and The Beautiful. This candid biopic explores Newton’s complex legacy as a photographer through a series of his most provocative images and interviews with the women who featured in them. Amongst Newton’s iconic shots of Claudia Schiffer, Charlotte Rampling and Marianne Faithful, I found myself struck by a grainy black and white photograph hanging on the wall of his New York apartment. A cropped shot of a woman’s legs in stockings, dramatically illuminated against a dark background, it is an evocative rendering of the female form. Whilst it possesses the same sensual quality as Newton’s photographs, it is not his work. It was taken by Else Neulander Neuman, otherwise known as Yva, the Weimar photographer who had mentored Newton in the early days of his career.

From Gero von Boehm’s Helmut Newton: The Bad and The Beautiful, 2020

Yva was a leading photographer in Berlin in the 1920s and 1930s. Inspired by the creative atmosphere of the Bauhaus, Objectivism and German Expressionism movements, she used theatrical lighting and clean geometric lines, to create a sophisticated and refined image of glamour. In the male-dominated sphere of fashion photography which often propagated a sexualised model of femininity, her elegant and allusive photographs of women provided a refreshing outlook on female beauty.

Woman in Dress, 1933, Accessed via: Instagram: @noirmelanie

Two women in Coats, 1935, Accessed via: Instagram @documenting_fashion

Yva’s most iconic images were her stocking advertisements. Using close-cropped shots and theatrical lighting, she put the focus on the texture of the garment and immersed the female viewer in an act of ‘haptic seeing’. The photograph which Newton had hung on his wall was from an advertisement she shot for UHU in 1929 titled Schöne Beine in schönen Strümpfen (Beautiful Legs in Beautiful Stockings). The dramatic lighting of the woman’s legs against the nebulous dark background serves not only to highlight the form of the woman’s knees, shins and ankles, but also to emphasise the contrast between the grainy texture of the mass-produced stockings and the soft satin of her shoes. In its rich and sensuous depiction of the different textures, it encourages the women to imagine themselves wearing the stockings, with the visual focus not solely on the leg, nor solely on the stocking, but rather on the relationship between the item of clothing and the body. Yva’s photographs for magazines such as Die Dame and Elegante Welt provided a feminine perspective of products, engaging with female consumers’ sense of sight as well as touch.

Schöne Beine in schönen Strümpfen’, Yva, for UHU Magazine, 1929 Accessed via: Instagram @documenting_fashion

Shoe, Monte Carlo, 1983, Helmut Newton, Accessed via: Instagram @noirmelanie

Looking at Yva’s work, I have come to understand Newton’s photography in a different way. As shown by the stocking advertisement he had hung in his flat, he drew inspiration from her use of ‘haptic seeing’ to immerse the women in a multi-sensory experience of the latest fashions. Although he was not a woman, having understood the world through Yva’s eyes and indeed lens, he created photographs which spoke directly to the female consumer and her needs and desires.

By Violet Caldecott

 

Sources:

Belting, Hans, ‘The Transparency of the Medium: The Photographic Image,’ in An Anthropology of Images: Picture, Medium, Body (New Jersey: Princeton University Press, 2011)

Hatton, Hayley, Yva: shattered vision, The tragic hidden legacy of one of history’s most visionary photographers, Dazed and Confused, July 2008

https://www.dazeddigital.com/artsandculture/article/20704/1/yva-shattered-vision

Ganeva, Mila, Fashion Photography and Women’s Modernity in Weimar Germany: The Case of Yva, NWSA Journal, 2003-10-01, Vol.15 (3) (Baltimore: Indiana University Press: 2003)

Van Deren Coke, Avant Garde Photography in Germany, 1918-1939 (Pantheon Books: New York, 1982)

The John Cole Fashion Photography Archive

As Andrew Bolton, Head Curator of the Metropolitan Museum of Art’s Costume Institute once said in a Vogue documentary, ‘Your memory of fashion is fashion photography.’

I love fashion photography. I have collected magazines ever since I was little, when my mother and I would spend hours looking at the pretty glossy pictures. It was my interest in fashion photography that led me to the Documenting Fashion course at The Courtauld. An entire course on fashion imagery? I knew immediately that this course was for me. Reflecting upon my year at The Courtauld as it is coming to a close, I believe that one of the most important things I have learned is to appreciate the depth of fashion photography, as a fashion photograph can be much more than a visually pleasing image. I have learned that fashion photography has the potential to shape our attitudes towards our identity, our society and our culture. But fashion photographs are not only expressions of our visual culture: they are first and foremost expressions of our desires. We can come to see the world through the knowing eye of the fashion photographer, who instinctively captures seminal moments and has the ability to immortalise certain fashion designs.

I was convinced until this year that Google Images and my stack of old magazines were my best bet when it came to looking at old fashion photographs. I have since discovered the existence of a plethora of rich fashion photography archives, many of which have greatly helped me with my research throughout the year. The most recent archive that I have discovered is that of fashion photographer John Cole (1923-1995).

John Cole at work at Studio Five.*

John Cole began his career as a fashion photographer in the 1940s and opened his first studio in Mayfair in 1956. The studio, called ‘Studio Five’, attracted photographers who would rise to great prominence in the fashion industry—one such photographer, David Bailey, would eventually work for British Vogue. 

John started taking fashion photographs in the early 1940s when working for Gee & Watson and Hugh White Studios. He took many photographs for the original Tatler & Bystander magazine which was owned by the Illustrated London News; he also took photographs for Britannia & Eve magazine.

John was a very prolific photographer whose photographs were used for many adverts in a wide range of publications. At Studio Five, he took photographs for Hairdressers Journal, Flair Magazine, The Sunday Times, Daily Mail, The SUN, the Daily Express, Evening News, Evening Standard and The Guardian. Throughout the 1970s, Country Life ran a fashion section for which John was the main photographer. 

John’s many years of experience, both in the darkroom and on set watching other photographers at work, would eventually allow him to master his own techniques—such as lighting. As stated in an article from 1962, John was ‘someone at the top but always willing to learn.’ If he wasn’t using tungsten lighting, he was working with the natural daylight that poured in through the two roof windows at Studio Five.

This photograph was taken for Chemstrand tights, April 1966.* 

John asserted his creative agency in the original way he captured the cut and shape of the clothes in his images, demonstrating an utmost confidence in his own instincts. He seemed interested in capturing clothing from unexpected viewpoints. In shooting from quirky angles, his photographs change the way a particular garment is seen. They provide a fresh perspective on relatively standard items of dress that would make any woman want to purchase them. 

John Cole had a knack for showing the clothes off from unexpected angles.*

The pictures that have been collected and made available in his archive accessible via a website and an Instagram account give us a glimpse of the times in which he worked, particularly the 1960s—an era full of glamour and youthful fun. Included in this collection of stunning photographs are images of model-turned-editor Grace Coddington, along with some behind the scenes photographs that provide us with a flavour of the energetic ambiance of Studio Five. 

There was always music being played at the studio. Well, it was the 60s!*

John had a distinct ability to capture the energy of his subject. While there is a light and whimsical overtone to his photographs, the model in the picture always seems to be deeply engaged and present. We can see that each model is prepared to give everything she has, with the knowledge that John would capture her at the perfect moment. Each one of John’s models emanates a liveliness that reflects her desire to fully invest in playing her role for the camera. As John himself asserted, ‘There has to be complete affinity between photographer and model to take a really good picture.’

This image of Twiggy was taken for fashion brand Slimma in 1966. The clothes were designed by David Bond, whose trouser suit was the Bath Fashion Museum Dress of the Year in 1967, chosen by Felicity Green at the Daily Mirror.*

The John Cole website provides everything from bibliographic information, to video clips of him on set with 1960s icon Twiggy, to personal accounts written by individuals who worked alongside Cole at Studio Five. 

An archive such as this puts into question the ephemeral nature of fashion photography. It challenges common notions of fashion photography as images that we mindlessly flip through in a waiting room or on our morning commute: images that are quickly discarded, never to be looked at again once the next month’s issue is published. A fashion photography archive emphasises the commonly overlooked notion that fashion photography has the potential to capture the collective consciousness of a particular time, frozen in one glossy beautiful image. For those of us who cannot afford to wear the glamorous clothes featured in most fashion photographs, we can take solace in the thought that fashion photography nevertheless allows us to partake in this dream world. 

* All images taken from the John Cole Archive and subject to copyright.

 

References:

http://www.johncolestudiofive.co.uk/home/4570078226

‘Photography in Advertising: A self-contained service in an unusual backwater,’ John Heron, February, 1955

‘“The Only Way to Succeed…” Robert Sowter interviews top photographer John Cole,’ Robert Sowter, Time & Tide, November, 1962

Dissertation Discussion: Abby

 

What is the working title of your dissertation?

I’m trying to come up with something more creative but right now it is: “More Than a Backdrop: Fine Art in the Fashion Magazine 1930s-1950s”

What led you to choose this subject?

Well literally all of my academic research has investigated the intersection between art and fashion in some way so continuing to look at this relationship was a given. I wrote one of my previous MA essays on the fashion magazine as a designed object so I also wanted to build on that research. I love the way image, text and layout work together in fashion magazines to construct ideas of femininity as well as national identity for readers. I found art historians who had dismissed the use of art in fashion magazines, saying fashion simply used art as a backdrop to sell clothing. So, I wanted to assert that actually art and fashion work together to create significant aesthetics and messages.

I had always planned to write about classicism and couture in the 1930s because I have a low-key obsession with all things Greco-Roman and I’m fascinated by modern classicism. But about a month before we had to choose our topics I kept thinking about photographs by Cecil Beaton of models in eveningwear in front of Jackson Pollock paintings, and earlier this year I also came across photographs by Genevieve Naylor of models in Alexander Calder’s studio and then I was interested in modern art and fashion. I thought I had to choose between classicism or modern art but Rebecca (shout-out to Rebecca Arnold!!) helped me realize I was essentially looking at the same thing: art and fashion in magazine editorials. So, I didn’t have to choose and I really think it is the perfect topic for me.

 

Favorite book/article you’ve read for your dissertation so far and why?

In my quest to tie together art, fashion, and mid-century American politics I found a fantastic article by Alex Taylor about how Calder’s sculptures were used for both U.S. cultural propaganda and Latin American dissent during the Cold War.

Also, I got to re-visit the catalog from my favorite Met Costume Institute exhibition, 2003’s Goddess: The Classical Mode which spotlighted fashion designer’s affinity for the classical.

 

Favorite image/object in your dissertation and why?

A Vogue 1931 editorial “Bas Relief” featuring George Hoyningen-Huene’s photographs of Madeleine Vionnet evening pyjamas where the model is actually lying down against a dark background but it looks like she floats while her dress swirls around her. The meeting of timeless classical imagery and modern photography is breathtaking and Hoyningen-Huene is my favorite photographer AND Vionnet is the best – it just doesn’t get any better.

 

Favorite place to work?

I can only focus in my room or in the Courtauld library

 

Dissertation Discussion: Grace

What is the working title of your dissertation?

 

So far, it is ‘Movement in Metal: The Representation of Paco Rabanne’s 1960s Fashion Designs’

What led you to choose this subject?

 

My virtual exhibition was about late 1960s minimalist sculpture in relation to fashion. One of my exhibits was a metal ‘sound sculpture’ robe made by the Baschet Brothers for the 1966 film Who are You, Polly Maggoo? I became interested in how the models moved in this uncomfortable metal dress, which eventually drew me to Paco Rabanne and his metal dress creations from the late 1960s. In 1966, Rabanne presented a collection titled ‘Twelve Unwearable Dresses in Contemporary Materials’ at the Georges V Hotel in Paris, which I will discuss further in my dissertation.

Favorite book/article you’ve read for your dissertation so far and why?

 

I enjoyed reading Jane Pavitt’s Fear and Fashion In The Cold War (V&A, 2008). Pavitt discusses late 1960s avant-garde and space-age fashions, stating the reasons why designers and wearers chose to make such statements in what was a politically turbulent time. The book also features many entertaining photographs of strange space-age costumes.

Favorite image/object in your dissertation and why?

 

I found an advertisement in the January 1967 issue of British Vogue for Goddard’s ‘Long Term Silver Polish’. In the photograph, a model wears a Rabanne style metal disc dress, and the advert explains the polish’s use for the dress. It is interesting to see the connection between ‘traditional’ metal surfaces and Rabanne’s style of dresses, and also imagine the mixed attitudes towards them during this period.

Favorite place to work?

 

The National Art Library at the V&A is beautiful, and I like that it isn’t too overwhelmingly big.

 

By Grace Lee

Quicksilver Brilliance: Adolph De Meyer Photographs at the Met

In our next installment of the MA Documenting Fashion NYC trip recap we take on the Metropolitan Museum of Art, specifically a small gallery tucked away by the nineteenth-century sculpture featuring the photographs of Baron Adolph de Meyer in Quicksilver Brilliance, a solo exhibition of his work. The exhibition utilizes the Met’s own holdings of de Meyer’s photographs to create an overview of de Meyer’s career.

As a pioneer of fashion photography, de Meyer’s distinctive Pictorialist approach helped define the genre during the interwar period at leading fashion magazines. Thus, the inclusion of one of de Meyer’s tuxedos is an appropriate addition to the exhibition. The presentation of a pristine 1930s black wool tuxedo which likely comes from Wolf Kahan, a tailor who catered to the artists of Vienna, sets a tone of elegance for the exhibition. De Meyer, a member of the “international set” that defined high society in fin-de-siècle Europe, was considered a beacon of style, writing columns for Harper’s Bazaar and Vogue instructing American women on the latest European fashions.

Adolph de Meyer, “The Silver Cap,” 1909. Gelatin silver print, 1912.

The first photograph in the exhibition that caught my attention was The Silver Cap which as its title suggests, highlights the headwear of de Meyer’s model. The 1909 photograph seems to glitter on its own like an early twentieth-century version of the Kira-Kira app. Indeed, de Meyer was a master of manipulating light, combining a soft focus and a dramatic use of electric light to create a “quicksilver brilliance.” Here, de Meyer’s manipulated lighting captures the texture and luminosity of the fabric to illustrate in the photograph the quality of the textile as if it were in motion.

Adolph de Meyer, “Rita de Acosta Lydig,” 1917. Platinum print.

My other favorite photograph in Quicksilver Brilliance is a 1917 portrait of Rita de Acosta Lydig where de Meyer captures the socialite and suffragette in striking simplicity. I adore the way in which de Meyer renders the subtle contours of his subject’s body and illuminates the confident character of Rita without showing much of her face. To me, the image, which appeared in Vogue, relates the sensual beauty of the female subject and represents a style of photography and posing that dominates fashion photography to this day.

Quicksilver Brilliance presents a charming selection of prints which epitomize de Meyer’s career and highlight the elegant origins of fashion photography. The exhibition is on at the Met until April 8th. 

By Abby Fogle

Lily Visits “Irving Penn: The Centennial” in Paris

The 2017 “Irving Penn: The Centennial” exhibition in Paris is a guaranteed highlight of the Grand Palais’ autumn season programme. Marking the centenary birth of Irving Penn (1917-2009), the Metropolitan Museum of Art, and the Réunion des musées nationaux– Grand Palais, in collaboration with The Irving Penn Foundation, organized one of the most comprehensive retrospective since Penn’s death, and the first of its kind in France.

Irving Penn is regarded as one of the most important photographers of the 20th century. To many, he is most well-known for his portraits of notable societal figures. However, as a ‘Documenting Fashion’ student, I see him as inseparable from 20th century fashion; his name alone conjures up some of the most iconic images in fashion studies. His celebrated fashion photos taken during his time at Vogue including Tobacco on Tongue (1951), Balenciaga Mantle Coat (1950), and The Twelve Most Photographed Models (1947), are all on display in this exhibition.

Lisa Fonssagrives-Penn wearing a Balenciaga Mantle Coat in Vogue, September 1950

This retrospective looks back over Penn’s seventy-year career “with more than 235 photographic prints all produced by the artist himself, as well as a selection of his drawings and paintings.” The exhibition is laid out on two levels, covering a range of genres and themes that were of great importance to Penn’s career. The ground floor starts with his still life and early street photographs taken using his first Rolleiflex in 1938, and spans the 40s to early 60s-era, including his early days at Vogue. The portfolios of Cuzco indigenous people, small trade series and classical ‘portraits of personalities’ are all covered in this period. The upper floor showcases his advertising and personal projects. These ranged from his series of nudes, to cigarette butts and four major series of other detritus, titled: Street Material, Archaeology, Vessels and Underfoot.

The exhibition is successful in showing all these facets of Penn’s career and his wide-ranging interest in subject matter. But truth be told, all these genres and themes can be split into two major categories: objects and humans. And in my opinion, his most interesting photos are still the ones he takes of people, whether it is of fashion models, celebrity portraits, or indigenous villagers. These photographs reveal his instinctive grasp of material, weight, pattern and the tactile quality of a garment. Paired with his knack for posing subjects, Penn’s photographs of people are both visually and psychologically more interesting for viewers.

The Irving Penn centennial exhibition was originally shown this year between April and July at the Metropolitan Museum in New York. Lucky for those in Europe, the same show will be exhibiting at the Grand Palais in Paris until the 29th of January, 2018, before heading to Germany and Brazil.

By Lily Mu

All photos authors own

Louise Dahl-Wolfe: A Style of Her Own at Fashion and Textile Museum

In our last MA Documenting Fashion class before the end of term we discussed ‘women imagining women’ and examined the photography of Toni Frissell and Louise Dahl-Wolfe. Fortunately for us, London’s Fashion and Textile Museum currently has an exhibition of Dahl-Wolfe’s photography. A couple of my fellow MA Documenting Fashion students and I excitedly visited the exhibition together. Louise Dahl-Wolfe: A Style of Her Own appropriately began with an informative wall-text chronicling Dahl-Wolfe’s trajectory from art student to fashion photographer. A small hallway leading into the main exhibition space featured several of Dahl-Wolfe’s Harper’s Bazaar covers from the 1940s and 50s. These were not just prints of Bazaar covers, but the original magazines themselves held in simple white frames. The imperfect state of the worn magazines gave Dahl-Wolfe’s photographs a tangible materiality and reminded me that although her photographs were now presented in a museum context, most images in the exhibition were originally intended for the pages of a fashion magazine.

The main exhibition space began with examples of Dahl-Wolfe’s early photography. Experimental nudes and still lifes reflected Dahl-Wolfe’s training as an artist at the San Francisco Art Institute. I enjoyed how these early works revealed her skill for manipulating light and shadow that would define her fashion photography. These skills are also highlighted in Dahl-Wolfe’s Depression-era documentary style photographs of the residents of Gatlinburg, Tennessee. Influenced by Edward Weston and Dorthea Lange, Dahl-Wolfe began her professional career in 1930. Her photographs of the impoverished community in Gatlinburg were later included in a group photography exhibition at the Museum of Modern Art in 1937.

Louise Dahl-Wolfe,
Halter dress by Brigance, 1954, Palm Beach

In 1936 Dahl-Wolfe became a staff photographer for Harper’s Bazaar where over the next 22 years she would produce 86 covers, 600 color pages, and thousands of black and white portraits.The exhibition featured numerous examples of Dahl-Wolfe’s fashion photography, making it impossible to choose a favorite. Among my favorites however, is the above photograph of a halter dress by Brigance taken in 1954 at Palm Beach. This image exemplifies Dahl-Wolfe expertise in light and shadow, capturing fashions in natural, outdoor settings, and rendering the subject as confident and at ease. As this image suggests, Dahl-Wolfe’s fashion photographs are shockingly modern and the influence of her dynamic images on contemporary fashion photography is astounding.

Arielle and Olivia looking at Dahl-Wolfe’s portraits

In addition to her success in fashion photography, Dahl-Wolfe continually produced portraits throughout her career. The exhibition showcased her portraits of Hollywood stars and cultural figures. Much like the subjects of her fashion images, Dahl-Wolfe’s portraits capture natural poses and the relaxed confidence of her sitters.

An unexpected yet delightful addition to the exhibition was a reproduced set of one of Dahl-Wolfe’s Harper’s Bazaar covers. Sitting on a stepped platform, a mannequin wears a bright yellow, striped 1950s play-suit and matching yellow accessories that stand out against an orange, blue, and green vinyl wall decal meant to replicate the original tiled backdrop of Dahl-Wolfe’s photograph. This scene brings the 1950s-magazine cover to life, once again adding to the materiality of the exhibition. Overall,   the Fashion and Textile Museum’s exhibition beautifully presented Dahl-Wolfe’s stunning photographs and successfully highlighted the photographer’s contribution to fashion photography.

Louise Dahl-Wolfe: A Style of Her Own is on at Fashion and Textile Museum until 21 January, 2018.

 

Abby Fogle

All photos author’s own

Introduction to the Courtauld History of Dress Journals Archive

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.

Introduction to the Courtauld History of Dress Journals Archive

Some of the earliest fashion magazines in the Courtauld History of Dress Journals Archive are on show in the exhibition. Here, Gazette du Bon Ton, Für die Dame and Pinpoints are displayed.

A view of the 1940s section of the exhibition featuring Harper’s Bazaar and Femina.

Elizabeth and three MA Documenting Fashion students after the completion of the exhibition instal.

Dissertation Discussion: Sophie

Photographs of Parkinson’s Wife, Wanda Rogerson in Robin Muir, ‘Norman Parkinson: Portraits in Fashion’ (London, National Portrait Gallery 2004)

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.

Norman Parkinson Archive

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!*

Courtauld Library