Vogue Photographers

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Vogue Photographers Biography

New York, 30 may 2007 More than any other fashion magazine, Vogue has come to represent the gold standard of publications targeting the stylish, culturally sophisticated woman. From its inception in the late nineteenth century to the present, the magazine has served as a photographic and literary record of its readers lives— the liberated elite of the 1920s, the idealized housewives of the 1950s, the working everywoman of the 1970s, and today’s multiracial, indefinable woman. Rizzoli’s In Vogue represents over 100 years worth of the magazine's most memorable images, and analyzes its influence on over a century of fashion.

With unprecedented access to Vogue’s vast archives, authors Alberto Oliva and Norberto Angeletti have collated an impressive collection of illustrations, photographs, and contributions from the magazine's editors and photographers. Like well-behaved children running amuck in their mother's library, the authors picked some pretty things, some amusing things and some rather serious things. And so we find a haughty Lisa Fonssagrives decked in Dior, a playful Truman Capote dancing a literary waltz, and a soulful Pablo Picasso peeking out from behind his portraits. Enough already for what is essentially coffee table decoration, but to In Vogue’s credit, the book delves deeper to examine the significance of a magazine that has captured the imaginations of women for over a century. Divided into three sections, the book details the history of the magazine from three different perspectives

With unprecedented access to Vogue’s vast archives, authors Alberto Oliva and Norberto Angeletti have collated an impressive collection of illustrations, photographs, and contributions from the magazine's editors and photographers. Like well-behaved children running amuck in their mother's library, the authors picked some pretty things, some amusing things and some rather serious things. And so we find a haughty Lisa Fonssagrives decked in Dior, a playful Truman Capote dancing a literary waltz, and a soulful Pablo Picasso peeking out from behind his portraits. Enough already for what is essentially coffee table decoration, but to In Vogue’s credit, the book delves deeper to examine the significance of a magazine that has captured the imaginations of women for over a century. Divided into three sections, the book details the history of the magazine from three different perspectives:


Jean Patchett (dramatic eye and lip)
Photograph by Erwin Blumenfeld, courtesy of the Condé Nast Archive,
from IN VOGUE: The Illustrated History of the World’s Most Famous Fashion Magazine
by Alberto Oliva and Norberto Angeletti, Rizzoli New York, 2006

The first examines Vogue 's beginnings as a society chronicle, its early illustrated covers, and the birth of fashion photography. Here one finds wonderful, rarely published pictures by the likes of Charles Gibson and St.John. Each hand-rendered illustration speaks volumes about the women it depicts, both adorned and imprisoned by their jewels and corsets. How limited these womens' lives must have been within the constraints of class and marriage. With no expectation of freedom, they indulged in one of the few pastimes afforded them—fashion.

The advent of fashion photography transformed socialites into the first fashion models. Exuberant gowns by the likes of Schiaparelli , Balenciaga and Chanel were often shot in the models' own Park Avenue apartments. These women traveled to Paris by steamboat to view and fit their couture— they would commission hand laced lingerie from convent nuns, and turn out gowns in the atelier to examine the finishing. In a world where Paris Hilton is considered a socialite, such taste no longer exists. The recent deaths of New York society fixtures Nan Kemper , Kitty Carlise Hart and Pat Buckley marked the end of a certain generation of women—those who knew about food, dressing well, running a house and entertaining on a grand scale.

The second section of the book examines the evolution of the magazine's style as it passed from editor to editor. Most fascinating is the mad extravagance that signified Diana Veerland’s 8-year tenure in the 1960s. Veerland’s habit of expecting designers to produce collections that fit around her visions became fashion folklore—she inspired the eccentric fashion editor in Audrey Hepburn’s Funny Face . Her penchant for hugely expensive shoots set in exotic locations such as India, Egypt and the Far East made Vogue a dreamy, if somewhat detached beast. Eventually Veerland was replaced with the more commercial Grace Mirabella, and a new Vogue woman was born. Career-orientated and ambitious, the magazine was now squarely marketed towards the working woman.

By this time world renowned fashion photographers such as Helmut Newton and Irving Penn were helping to shape the look and feel of the magazine. When Anna Wintour took over the helm from Mirabella in 1988, she assembled a core of photographers including Steven Meisel, Bruce Weber and Herb Ritts. By introducing the concept of repeatedly using a select group of models on the cover, Wintour helped to bring about the era of the supermodel. Linda, Christy and Naomi were fondly known as the ‘Holy Trinity' — designers fit collections around them and editors were forced to give into their every whim. Flying concorde and staying in only the best hotels were everyday demands in 1990 when Linda Evangelista famously informed Vogue "We don’t wake up for less than $10,000 a day". Outrageous? Perhaps, but these girls became icons because they lived and breathed fashion, they loved clothes and the creative process behind a photograph. Speak to any fashion editor and they will all repeat the same fact about today’s modeling industry. 

Vogue Photographers

Vogue Photographers

Vogue Photographers

Vogue Photographers

Vogue Photographers

Vogue Photographers

Vogue Photographers

Vogue Photographers

Vogue Photographers

Vogue Photographers

        Vogue Photographers