1892 December 17 – The First Issue of Vogue 1892 – September 2 1893 January 14 1893 January 25 1893 February 11 1893 February 11 1893 February 25 1893 March 25 1893 Halloween 1893 November 16 1895 April 18 1895 October 1896 June 1896 September 1897 September 1897 December 1899 July 1910 April 1 1910 July 1913 July 1913 November 1914 March 15 1914 April 1 1915 March 1 1915 June 15 1915 July 1 1916 August 1 1918 April 1 1919 Late January 1919 March 15 1919 July 1 1920 April 1920 September 15 1921 January 15 1921 February 1 1921 Detail 1921 March 1921 Late May 1921 Late October 1922 June 1922 October
1927 June Late
1929 February 2
1937 June 23
- EDITORElizabeth Penrose
- EDITORElizabeth Penrose
- EDITORElizabeth Penrose
- EDITORElizabeth Penrose
1938 March – Editor Elizabeth Penrose
1938 April- Editor Elizabeth Penrose
1938 June – Editor Elizabeth Penrose
1938 August – Editor Elizabeth Penrose
1938 – November – Editor Elizabeth Penrose
1938 December – Editor Elizabeth Penrose
1939 July 1
1939 – March – Editor Elizabeth Penrose
1939 April – Editor Elizabeth Penrose
1939 June – Editor Penrose
- EDITORAudrey Withers
1940 April – Editor Audrey Withers
April 1944 [Lee Miller was the Vogue War Correspondent during World War II]
“The issue features Vogue’s first still life cover and boasts a subscription rate of £2 for 12 numbers.”In this issue we show you our first contacts with our French office and its friends whose ordeal has been different from ours, but not less. How many of our French staff were lost in 1940 we do not yet know. The 20-year-old son of our Paris editor was shot, this June, by the Gestapo. The husband of another colleague is held to ransom in Germany. The daughter of a third, after years in concentration camps, is in prison in Silesia. The French concept of civilised life has been maintained, but at a heavy price.”
“Lee Miller, Vogue’s correspondent in France, went down to the Loire, saw two sensational German surrenders, took these pictures of bridges outside Orleans and at Beaugency – blown up by the Germans in 1940 – and writes eye-witness descriptions on page 82.
“Meanwhile Lesley Blanch writes about the forthcoming peace: “Already the signs and portents of victory sparkle in a thousand ways, both great and small. Book-lovers rejoice that the paper rationing is increased. Sweet-tooth tots anticipate extra Christmas lollipops. Careworn housewives are lured in by the bait of uncouponed bath towels.”
1945 February – Editor Audrey Withers
1945 March – Editor Audrey Withers
1945 July – Editor Audrey Withers
“The point made by Vogue with these two women on the cover – one sleekly understated, the other more obvious – is that the austerity of war will last into peacetime. Now is no time for ostentatious displays.”
“With the war in Europe and the Far East finally having come to an end in September, Vogue has no suitable cover commissioned for this issue. James de Holden-Stone, the magazine’s art director, makes his point aptly with a painting of blue skies – denoting the end of the blitz over London.”
“Dresses are beginning to get a bit sexier – most now are above the knee with short sleeves and a few even have spaghetti straps.
“In order to keep their hair in tip-top shape; women are encouraged to wash it every two weeks and to massage their scalps daily to increase circulation and prevent dandruff. The beauty pages also recommend that they take halibut oil capsules to prevent skin damage.
“Life” seems finally to be getting back to normal after the war – Cecil Beaton writes a piece on the changes that the country has experienced and expresses what still needs to be done in order for the world to recover fully.
“A little wool dress is a must-have item for the season since it’s versatile for both day and evening affairs. Cinched waists are popular these days and readers are recommended to wear belts to show off their figure.
“Vogue’s House & Garden book is set to re-launch next month. The publication of House & Garden was interrupted by the war but now is set to come out quarterly.” http://www.vogue.co.uk/magazine/archive/issue/1947/January/Page/1
“An issue that celebrates the Royal Wedding: HRH Princess Elizabeth with Lt. Philip Mountbatten RN: “For the Royal couple Vogue chooses a shoe – as a symbol of good luck – in this case HRH Princess Elizabeth’s own wedding shoe. We hope that their lives will be as smooth as its satin – their spirit as bright as its buckle – and their happiness as perfect as its shape.””Bridal dress in the great tradition: ivory satin with Botticelli-like delicacy and richness, with pearl and crystal roses, wheat, orange bloss
om. Flowing dress of apricot brocade and gold lame with bands drawn up to shoulders and falling into draped one-sided cape. Worn with the ribbon of the garter.”
“Meanwhile Sir Laurence Olivier, as director of the Old Vic, Joyce Grenfell and Hermione Gingold are all featured.
“The dramatic New Look that had appeared in Paris the previous season is demonstrated in the silhouette of this issue’s cover model.”
“Cotton is the most important fabric of the season for dresses, while Dior pencil skirts and jackets are the two must-have items from the Paris Collections. Balenciaga is credited with bringing back high waist, or empire waistlines and other designers are beginning to follow suite.
“Meanwhlie critic Geoffrey Grigson writes a feature on the Tate Gallery’s memorial exhibition of British artist, Paul Nash and the Elizabeth Arden Salon celebrates the introduction of four new products – a foundation, two eye shadows and a hand crème.
“Vogue’s circulation, we’re told in this issue, stands at 100,000: “That round figure, with its satisfactory number of noughts, is one that gives us great pleasure to announce.” Meanwhile, big summer trends: “Prominent pockets have been appearing ever since the Paris collections” and “Small hats or large hats. Very small, very large, no half-measures.”
“On dressing for pregnancy: “It is mainly a matter of planning your maternity clothes with the same enthusiasm with which you plan for holidays. No need to think in terms of clothes with nine month’s depressing influence and after that no future.” And the Vogue spotlight this month is on Braque: “I never know how a painting of mine will be when it is finished. It is no good starting with a definite image in my mind. If I only painted exactly what I saw in my mind’s eye, I might as well copy Rembrandt.”
“Her Majesty the Queen and her daughter H.R.H. Princess Margaret are photographed in colour by Cecil Beaton, both wearing magnificent gowns by Norman Hartnell. Vivien Leigh, meanwhile, appears with a blonde hair do for her role as Blanche in Laurence Olivier’s London production of A Streetcar Named Desire.
“The life of the modern hostess is explored: “In this day and age, the hostess quite often doubles with the cook. And often from choice, for once having experienced the compensations of the staffless home, and the ease with which last-minute guests can be invited, she is unwilling to relinquish the freedom of the kitchen.”
1950 April 1 [June in UK]
“Black and white – more brilliant than colour; symbolic of a black andwhite season. Wide, round, level hat by Lilly Dache. Silk organdiecoat-dress: Larry Aldrich. Scarf by Kimball (all of New York).” http://www.vogue.co.uk/magazine/archive/issue/1950/June
1950 July August [France]
1950 September UK
“Jewel colours for an evening pump – topaz velvet, with gold kidlining. By Rayne. Stud earrings: Burma Gem Co. Lipstick and nailvarnish: Revlon’s “Brave.”
December 1950 UK
“Blue-eyes look for spring: china blue velvet beret designed by Mr.John of New York. Interpreted by R. M. Hats for Marshall andSnelgrove, London and Country shops. Max Factor’s Blue Eye Shadow (theatrical) and “Pink Secret” lipstick.” http://www.vogue.co.uk/magazine/archive/issue/1951/April
“Mexican rebozo worn in the style of an Arab’s burnouse. Protectionagainst a withering foreign sun or our home-bred sea breezes.Lipstick: Gay Morning by Cyclax.”
1951 August 1 US | 1951 September UK
1952 April UK
1952 November 1
1954 March UK
“The colour we raised the curtain on last month – orange… for a tinyhat shaped like a Viking ship, with a prow over the forehead. Injersey, detailed with russia braid, by Simone Mirman. The brooch,enlarging on our Oranges and Lemons theme – stones of two colours of topaz, in a horseshoe setting. One of the Dior designs now made inthis country for the first time, by Mitchel Maer. Available at Fortnum& Mason at the end of March. The lipstick is Revlon’s Baby Tangerine.”
1954 August UK
“Beauty, with emphasis on mouth and eyes to complement blue sapphire – Vogue’s colour choice for autumn. Make-up by Yardley: Pink Heatherlipstick; blue eye-shadow; Blonde Feather foundation.” http://www.vogue.co.uk/magazine/archive/issue/1954/August
1955 September 15
October 1954 UK
“Spinach green – new autumn shade (see our colour booklet given away with this issue). Left: Spinach and grey tweed for a suit by FrederickStarke. Burnt orange hat by Otto Lucas. Lipstick: Vermeil by Lancome. Right: Spinach faille for a dress by C. D. Models. Sky-blue hat byOtto Lucas. Lipstick: Pompadour by Payot. The clothes and hats are at Fortnum & Mason and stores on page 268. Jewellery at Paris House.”
November 1954 UK
“Cherries in the snow… cherry lipstick, cherry accents, a jacket ofnylon and fabric like untrodden snow. Lipstick: Cherries in the Snow, by Revlon. Hood and scarf in one, at Herbert Johnson. Jacket, thepurest-ever luxury, bound and buttoned in white kid, by Berg ofMayfair, 26 gns. from the shops given on page 150.”
“Much red together is a piece of news in fashion. Here, Dior’s pleated, two-piece dancing dress (very short), beneath a taffeta coat, and wornwith garnet-red bead earrings, bracelets, and necklace, shaped likeberries. Red fashion on the lips: Max Factor’s See Red.”
“Paris talking point that’s also a colour point: all reds, as varied as you please, from the glowing red of the velvet beret to the biting red fleece coat, Make-up by Max Factor: See Red Lipstick; Sheer Geniusliquid foundation and Rachelle face powder.” http://www.vogue.co.uk/magazine/archive/issue/1955/January/View/Cover
Cover: A Child’s Dream of Christmas: a photographic study by Norman Parkinson.”
“The new Eastern feeling in Paris fashion is putting emphasis on a traditional design that makes Oriental magic of the newest casuals,” we’re told, as paisley makes a plays for the fashion’s front line.”
“Colourful send-ff to our international fashion theme – a shirt incotton satin by Emilio Pucci, made is geometrical segments of green, turqoise, coral. It’s straight and narrow, hip-length, with a diagonal neckline: 7 1/2 guineas at Woollands. Italian gilt earrings, 6 gns.,and wide bracelet, 12 gns., from Harrods. Lipstick: Yardley RoseCoral.”
1956 – Dina Moiry by Irving Penn
1956 March 15
“Starting our rich album of India – the white marble city of Mysore.This picture was taken on the dais of a past Maharajah’s statue,looking towards the Palace entrances. The dress in white Witchcraft lace is by Julian Rose, 27 gns., at Woollands; Nola, Chester; Elaine,Guildford; and shops on page 210. White nylon parasol, price £6 at Liberty’s. White calf court shoes, price 10 gns. at Rayne. Whitecotton gloves, by Pinkham, 15s. 11d. from Peter Jones.”
“Heralding the beauty of 1957: hair smooth and up-swept, the glitterand glow of diamonds and pearls, the feminine formality of whitekidskin gloves and above all the translucence of this season’s complexion, achieved with Danamask fabulous powder and cream all-in-one. The colour is “Aurore”, the invisible accessory Danu’s Taby perfume.”
Shown above, a bumper-to-bumper portrait of the handsome car – it’s aRover 105 S, which is to say a superbly comfortable and beautifully finished machine, with automatic overdrive fitted for effortless speed (and it’s light on petrol, too). The price, with purchase tax, is£1,595 17s. The car in Normon Parkinson’s cover photograph wasspecially sprayed for us in fuchsia by Dunham & Haines of Luton(they’ll gladly undertake any special colour-spraying); though it’snot a colour-scheme in the regular range, we reckon it dashinglygood-looking. Suit and hat, John Cavanagh for Berg of Mayfair. Theblue-toned lipstick is Lancome Neo-Satin Fuchsia.
A topsy-turvy view of What to Wear with What – but no muddled thinking. The basis is a black and white tweed dress by Dorville. All accessories except jewellery are at Marshall & Snellgrove, Birmingham, Leeds, Leicester. The right-way-up girls wears a black mink beret by Otto Lucas; black doeskin gloves by Trefousse, 3 gns.; black patent bag by Jane Shilton, £14 5s. at Dickins & Jones; Kutchinsky’s diamond crescent earrings; a coral chiffon scarf and pink geraniums. Dior No. 31 lipstick. For the upside-down girl, Moriot’s marmalade velvet hat, 15 gns. at Marshall & Snellgrove; butter-yellow gloves by Dents, 59 s. 6d.; Cartier’s gold earclips; gold and topaz bracelets; gold, topaz and diamond brooch. Guerlain Giroflee lipstick.”
“The Season’s various events all demand a hat. Chosen with them in mind if this very feminine Easter egg of a cloche, beribboned with olive green velvet which knots just above the nape. By Simone Mirman. The ring, a huge Persian-esque, turqoise set in gold, by Boucheron. Thecigar-shaped gold compact is French, lattice-patterned, from Michael Gossechalk. Sea Green eyeshadow, Tulipe lipstick, by Guerlain”
“Scene from our Bahamas safari – showing the swagger of a beautifully authentic linen Bush jacket. Also making a brief but notable appearance, a jaunty pair of very short shorts. Tropical setting: LoveBeach – almost three-quarters of a mile of dazzling pink-white beach,flanked by brilliant turquoise and violet sea, coconut-laded palm trees- which is situated on the North West side of the island. Shirt byDonald Davies; matching shorts, Londonus. 8gns. the set at Maryon,Knightsbridge; Bournemouth. Lipstick: Coral Red by Harriet HubbardAyer.”
September 15, 1960 – Isabella Albonica
January 1961 UK
February 1961 UK
A blaze of mango – the season’s most vibrant hue – that starts atopwith a straw cloche; moves on to a pale-toned mango frieze tweed coat,a leather pochette, lips and nails in Gala’s Paprika (in the shopssoon). Coat, 9 1/2 gns., all Wallis Shops. Hat, Edna Wallace, £3.9s.6d.; bag, Jane Chilton, 5 1/2 gns., both at Fenwick.
1961 February 1 – Dorothy McGowan
March 1, 1961 – Isabella Albonica by Irving Penn
March 1961 UK
July 1961 UK
September 1, 1961 – Dorothy McGowan
September 1961 UK
- EDITORAilsa Garland
The new look of the eye emphasized by subtle shading but not lined. No longer is the eye’s colour sharply contrasted by vivid shadow and line, instead it is given a natural, alluring accent by matching make-up – here brown for brown; for blue eyes try a bluey grey shadow.For lips: a rounded softness, pretty pinks or reds, but never too paleor dark. Here, Max factor Golden Honey lipstick, and Hi-fi eye liner and mascara.
October 1961 UK
“Lots of luxury, lots of beauty – Emba Autumn Haze mutation for a mink coat with slight pouching at theback, an inset waistband. At S. London. All jewellery at Kutchinsky.Lips: Elizabeth Arden’s Ananda Pink. This is just one of a beautiful collection in the fashion show of Ema minks to be staged at theGoldsmiths’ Hall by Vogue during an evening reception in aid of the Cof E Children’s Society, on the eve of the opening of theInternational Exhibition of Modern Jewellery, 1890-1961 (October 26-December 2). This exhibition will include about 800 of the most exquisite jewellery designs in the world
November 1961 UK
Life-giving force for a wardrobe now: one of the furred hoods that rocked Paris a few months ago. This, in Emba Tourmaline mutation mink, over a jersey cap; Otto Lucas, at Fortnum & Mason. Gloves by Milore, Dickins & Jones. Jewellery by Michael Gosschalk. Lips: Eve’s Apple, by Peggy Sage. More red: the new MG Midget, £669 15s. 10d., with tax
March 1, 1962 – Dorothy McGowan
March 15, 1962
Taking a quick cue from Paris – black teamed with white, a thought that ran right through the Collections. The leading part here: a deep straw cloche widely, brimmed and noticeably banded and bowed. By Otto Lucas, at Fortnum & Mason. The lipstick: Revlon’s Louis XIV Red. Photograph by Claude Virgin
The new collections are in and Vogue enjoys the geometry of coats that Paris offers, as well as the bright colours on tailored suits, evening dresses and sculpted hats.
Italy’s fashion report is illustrated and shows the cascade of ruffles on evening dresses to perfection
Head-on start to spring; a great crescent brim of green chiffon over straw. From Simone Mirman. Black jet chokers by Corocraft at Harrods. Ring at Liberty. Lips and nails, Coral Touch by Peggy Sage. Photograph by Claude Virgin
Vogue discovers London designers’ penchant for European flair. A charming boat-neck Nina Ricci suit topped with a large wide-brimmed hat is the epitome of Sixties chic.
May 1, 1962 – Isabella Albonico
Cover-up story for summer, two-piece swimsuit reveals less than a modest one-piece (but won’t disguise a good figure). Major half is made in black Helanca, like a high-necked and sleeveleWhat makes a summer wardrobe tick, Vogue asks? It’s small details like a wide belt, baby Bretons and ruffles.ss jersey, bloused into a tight hip-band. Under it goes brief matching pants. By Donald Danvers, 10 gns. Breezy capaline of shocking pink and cherry red straw, by Dolores Glamour, £4 19s. 11d. White silk scarf, doodles in black, £3 10s. All from Liberty. Lipstick: Lentheric’s Pink Whisper. Photograph by Carapetian
In anticipation of the looming holidays, Vogue edits its favourite “playclothes”; attention-seeking looks perfect for the Mediterranean, including knee-skimming sundresses adorned with waist-cinching wide belts. Silk head-wraps add an air of mystery, while printed billowing maxi dresses act as a stylish cooler.
Featuring Jean Shrimpton on the cover for the first time, this issue promises us”the prettiest season ever”. “What’s an English summer?” asks the editor. “Well among other things it’s hot, still days and grasshoppers and the smell of suntanned skin, the ping of tennis balls and warm, crushed grass, the sweet prickle of strawberries, the gaudy stripe of awning and cricket club blazers, and the honky-tonk of summer fairs and What the Butler Saw on Brighton Pier…”
The time of year for Ascot, Henley, Eton’s Fourth of June and Glyndebourne” means clothes are as important to the season as stripes to a tiger“, and while many of the silk suits, slim skirts and free falling jackets are in black and brilliant colours, Vogue give an “Evening forecast: White windfall”. Snowy evening dresses are recommended because they “stand out in a roomful of colours like a dove in a parrot’s cage”.
August 1 1962 – Tilly Tizzani by Irving Penn
August 15, 1962 – Brigitte Bauer
Gladys Perrint’s cover illustration for this month’s Vogue captures this season’s new shapes perfectly.
March 1, 1964 – Anne de Zougher by Irving Penn
April 1 US | May 1963 UK
The new Dior Look – huge, round hat tilted to the back of the head, and filled with air like a giant pod. In this instance, it’s a big flat beret with a stalk and in a shiny biscuit Baku straw. Christian Dior Chapeaux, 21 1/2 gns., at Harrods. Lipstick: Dior’s no 29. Photograph by William Klien
May 1963 Paris
September 1, 1963 – Jean Shrimpton
September 1963 – Brigitte Bauer by David Bailey
October 1963 – Brigitte Bauer
The allure made world-famous by Garbo; the shadowed, well-boned face under a beguilingly severe brim. Coming over strong beneath this brown and white calf-skin hat by Otto Lucas at Fortnum & Mason. The lipstick, Elizabeth Arden’s Saratoga Red. Photograph by Duffy
November 1963 – Jean Shrimpton by Irving Penn
Vogue Italia January 1964
March 1964 – Sandra Paul
April 1964 UK
The emblem of Paris this spring – the camellia. In a single touch on a cuff, ahead in a hat or pinned to the hair, on a pocket or now of a belt at the waist, at the neck to centre a soft collar or cravat, where you will, the camellia projects the new charm and prettiness Paris has given fashion. On the cover, it adds its own softness to an “eye-dipper” of shiny green leaves; from spring collection of Phillipe Venet. Camellias, gardenias and carnations are at Harrods from 3 s. a bloom. Lipstick: Revlon’s Morocco Coco. Photograph by David Bailey
Vogue finds her rhythm with the ‘On the Move’ shoot, featuring flowing silks and swinging pleats, and Jenepher Wolff travels to Egypt for this month’s travel feature.
May 1964 – Wilhemina by Irving Penn
Alexandre of Paris, working ahead of but towards the Paris Collections, created this grand occasion hairstyle for Vogue: a chignon high on the crown, broad medieval-flavoured band of plaited hair, tulle under the chin. Make-up, Harriet Hubbard Ayer. Photograph, Henry Clarke
March 1965 Wilhemina
April 1965 Wilhemina
April 15, 1965 Wilhemina
In 1963, Diana Vreeland became Editor in Chief of Vogue. This shoot reflects Vreeland’s interest in exotic subject matter and travel, which she discovered via travel.
“Sophia Loren photographed by David Bailey during the shooting of her newest film, Lady L, at Castle Howard, York. Here, as Lady L dressed as a Turkish dancer for the masked ball scene when her aristocratic husband (David Niven) appears as Macbeth, her anarchist liver (Paul Newman) as Casanova. Adapted from Roman Gary’s novel by Peter Ustinov, who also directs and plays the part of a Bavarian prince.
October 1965 Paris
December 1965 – Wilhemina by Irving Penn
December 1965 UK
The art of fashion entertaining, demonstrated by Elsa Martinelli. A long hooded organza coat, floating in ostrich feathers, pink and white. Long, white crepe dress, studded with crystals. By Pierre Cardin. Crepe by Abraham; organza by Guillemen; crystal embroidery, Mesrine; ostrich trimming by Albert. Hair by Carita
David Bailey photographs a crowd of entertainers including Shirley MacLaine, Catherine Deneuve, Julie Christie and Elsa Martinelli: “Some of them are original, some are beautiful, some of them are comic and others, for no apparent reason, are idolised by millions. All of them possess the mysterious power of attracting people who do not know them personally.”
Marianne Faithful is also featured just after the release of her latest single, Yesterday, and just before the birth of her son, while Sophia Loren appears dressed as a Turkish dancer for the masked ball scene in Lady L with Peter Ustinov, David Niven and Paul Newman.
Eye in the International Collections – this issue, news from Paris, Italy, London, Spain and New York. Make-up by Lancôme. dress, Chloe. Earrings, Mimi di N., 7gns., at Dickens & Jones. Photograph by David Bailey
Peggy Moffitt and Donyale Luna in Silk Prints by Dior. Photographer David Bailey
Donyale Luna becomes the first cover model of ethnic origin for Vogue, for an issue entitled Eye on the International Collections. The big fashion statements in the shoots sum up the style mood of the day: huge eyelashes, candy coloured tunic dresses (Jean Patou), long chiffon dresses by Cardin, plastic diamond dresses by Pierre Cardin and thick crochet tights.
July 1967 – Twiggy by Richard Avedos
December 1968 – Lauren Hutton by Irving Penn
August 15, 1970 Karen Graham
August 1970 Paris
1971 December – Sophia Lauren by Richard Avedon
1971 Princess Grace by Richard Avedon
1971 December – Vogue Italia
1971 October – Donna Mills by Richard Avedon
April 1972 – Cher by Richard Avedon
April 15, 1972 – Sophia Loren
December 1972 – Cher by Richard Avedon
February 1973 – Karen Graham
April 1973 – Lauren Hutton
Aurore Clement, French actress and Vogue’s Collections star, and the first in this issue’s world series great designers, Sonia Rykiel’s water-colour knits – nearly pink fine wool sweater with matching pull-on, and longer loose cardigan. Range if Sonia Rykiel clothes, at Browns. Make-up by Elizabeth Arden. Hair by Michael Michaeljohn. Make-up by Richard Sharah. Photograph by Toscani
Jerry Hall in 1978 with Diana Vreeland
In 1963, Diana Vreeland became Editor in Chief of Vogue
Marie Helvin is resplendent in Grace Coddington’s Tunisian fashion story, shot by David Bailey. The sea and sandy shores serve as the perfect backdrop for colourful maxi dresses and matching turbans.
Model: Christina Ferrare
White and gold Moroccan look by Saint Laurent – bell sleeved long fine cotton dress, £55, metallic golden turban, £130, earrings, £21, necklaces, £35, £23, £75. All at Saint Laurent Rive Gauche. Make-up by Helena Rubenstein. Make-up, Barbara Daly. Photograph, Willie Christie
A packed international fashion issue featuring French ingénue Isabelle Adjani modelling Emanuel Ungaro and Catherine Deneuve lounging in Yves Saint Laurent.
British actress Helen Mirren is photographed by Lord Snowdon in a whirlwind of Krizia prints, while a 21-year-old Iman takes on the designs of Mary McFadden.
Yves Saint Laurent’s new collection is influenced by Morocco, so the Vogue fashion team were Marrakesh bound.
British actress Helen Mirren is photographed by Lord Snowdon in a whirlwind of Krizia prints, while a 21-year-old Iman takes on the designs of Mary McFadden.
Beachtime beauty – just add sunshine. Make-up by Revlon. Briefest poppy red towelling bikini, by Pascal, £10.90, at Elle shops. Line green cotton towel, from range at Harrods. Bangles, wire necklet, earrings, by Adrien Mann. Photograph taken in Morocco by David Bailey
For the cover and a beauty and fashion story, David Bailey shoots his favourite muse, Marie Helvin, in Morocco
David Bailey shoots his favourite model of the year, Marie Helvin, in Bill Gibbs’ eveningwear, inspired by the gilt of Indian saris
Marie Helvin – Vogue Italia April 1977 by David Bailey
Vogue goes to China for the October 1979 issue. Alex Chatelain shoots ‘Vogue In China’ – a fashionable tour around some of China’s most famous landmarks. ‘The Well Dressed Fur’ takes us through the best furs that money can buy. Plus the best buys for an instant winter wardrobe and Robin McDouall writes about ‘the Paddington Set’.
December/January 1979 Paris
Inside, Maria Shriver is photographed marrying Arnold Swarzenegger: “Andy Warhol and Grace Jones, the latter in a skin of bottle-green Azzedine Alaia, made a thunderous late entrance to the church”.
May 1987 Paris
- MODELChristy Turlington
August 1989 Paris
May 1990 – Linda Evangelista by Irving Penn
August 1990 Paris
October 1990 Paris
May 1991 Paris
April 1995 Sharon Harlow by Irving Penn
July 1995 – Valerie by Irving Penn
August 1995 Paris
“No woman should be without a ruffle this summer,” says Plum Sykes, while Tom Ford, Clements Ribeiro, Alexander McQueen, Miuccia Prada, Valentino, Yohji Yamamoto and Karl Lagerfeld are cited as the seven designers who make up the season and Amanda Harlech is profiled as she moves from being “John Galliano’s right hand” to work with Karl Lagerfeld at Chanel.
Kylie Bax, Rhea Durham, Esther Canadas, Georgina Cooper, Karen Elson and Alek Wek are among the newest models on the scene, and David Bailey shoots a portfolio of British designers whose work is leading the way: Hussein Chalayan, Stella McCartney, Clements Ribeiro, Antonio Berardi, Anya Hindmarch, Joseph Azagury and Jean Muir.
Vogue pays tribute to Gianni Versace after his death two months earlier. In fashion, his influence is still very much at the forefront with modern power dressing that means “superbly structured clothes given a harder edge with flashes of leather, scalpel-sharp heels and whiplash eyes”. Meanwhile, mini skirts are back and Tom Ford and Alexander McQueen are “threatening to bring back the suit”
The image for this cover was taken in 1994 but used to mark the Princess’ death in a special tribute issue after her death two months previously. “Millions rarely heard her speak. Clothes were her vocabulary, a huge factor in her tremendous allure – and from faltering pidgin, she gradually became one of the most fluent fashion speakers of our time,” says Vogue, as Catherine Walker, Valentino, Amanda Wakeley, Caroline Charles, Mario Testino, Sam McKnight, Manolo Blahnik and John Galliano are among the high fashion figures who pay tribute to the Princess.
The issue also features Stephen Fry and Jude Law, photographed by Pascal Chevallier as they are about to be seen on screen as Oscar Wilde and Bosie in Wilde, Kate Weinberg wins the Vogue talent contest and Vogue salutes Gianni Versace, “the man who put the glamour in fashion”, after his shocking death in July the same year
Dolce & Gabbana are featured as the “designers of choice to the Hollywood set”, while Audrey Marnay, Karen Elson, Tanga, Kate Moss, Kirsty Hume, Stella Tennant (in Giorgio Armani on the cover), Jayne Windsor, Trish Goff, Georgina Cooper, Annie Morton, Shalom Harlow, Naomi Campbell, Cristina Kruse, Cordelia, Kiara, Georgina Grenville, Carolyn Murphy, Amber Valletta and Angela Lindvall are hailed as the “moment-defining models”.
As well as Naomi (wearing a white satin beaded dress, £250, with a pearl-grey silk tulle overdress with Swarovski beading, £1,370, both from Prada, on the cover), Kate Winslet is the star of this issue, photographed by Regan Cameron in the wake of her Titanic fame.
From left: Angela Lindvall, Bridget Hall and Carolyn Murphy all wear floral print dresses by Dolce & Gabbana on the cover.
Capes, formerly the “stalwart of nannies and nurses”, have come back into fashion, Elspeth Gibson’s first ever catwalk show is featured, as is the first Haute Couture show from Donatella Versace since the death of her brother, and Burberry is profiled just over a year after Rose Marie Bravo arrived to turn it around.
“Gorgeous, famous and married to a Hollywood star: If Nicole Kidman wasn’t so nice you’d hate her,” says Vogue. The issue also features the launch of the Crussh chain of lunch spots for a country in the midst of Hay Diet fever and Stella Tennant gives the lowdown on her home birth. Sophisticated looks take on a tribal vibe in Kim Knott’s Urbane Nomad shoot, while hippie luxe is given a whirl in the Earth Girls shoot by Tim Walker and opulence comes back in a deluge of diamonds and pearls.
London’s newest must-have, Earl Jeans, have arrived “to put danger back in demin”, says Vogue, as it explores what the Capital’s movers and shakers are wearing at night. “From chaotic coherence to serious chic, the dress code is split along tribal lines,” says Susie Forbes. Meanwhile Andrew Graham-Dixon discovers that Ingres is “one of fashion’s most influential image-makers”.
The issue carries with it a trend supplement highlighting: space age, Seventies, sleek silhouette, padding, wrapping, folk, sheepskin, fur, capes and ponchos, jackets, coats, green, gothic, white, knits, animal skins, black glamour, belts and scarves, boots and bags among the biggest trends.
Vogue profiles Wendy Deng: “Everyone was shocked when Rupert Murdock married [her], a Chinese go-getter less than half his age. But as his empire heads east, it makes sense for his heart to follow”. Meanwhile Julianne Moore is this issue’s Hollywood star and the ten key pieces for the season are: the gilet, the striped sweater, the ponyskin skirt, the funnel-neck coat, lean trousers, the embellished bag, the fitted jacket, high boots and the sheepskin jacket.
“If you’re sick of the boho vibe, take heart,” says Justine Picardie. “Now is the time to look sleek, modern and powerful.” An onslaught of sequins, rhinestones, and fluorescent Lyras, meanwhile, heralds the return of the disco era.
We’re also told to prepare for Sleepy Hollow, Tim Burton’s latest creation featuring Johnny Depp and Christina Ricci, Jonathan Rhys Meyers is “the most sought-after new beauty in Tinseltown” and Beth Orton is “the mixed-up modern folk singer” and “the perfect pop icon for the year 2000.”
“I didn’t realise I was going to be on the cover when I did the shoot,” says Ross. “A couple of months later I was on another shoot in Nepal and I got a fax congratulating me on making the cover. I was unbelievably excited – it was my first one.”
Vogue profiles Queen Rania of Jordan this month: “She has been compared to Jackie Kennedy and Princess Diana, but [she] is forging a role for herself as a modern monach”. Jarvis Cocker also makes it into this issue, as he prepares to launch his debut novel.
December 2004 Paris
2004 December Paris Catherine Deneuve
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February 2007 Paris
May 2010 Paris
Penélope Cruz, Naomi Watts, Kate Winslet, Julianne Moore, Gwyneth Paltrow and Meryl Streep on the May 2010 cover of Vogue Paris