VOGUE
‘Contemporary fashion icons are more transient than fashion icons of the past’ Katie Calvert
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UNIVERSITY OF HUDDERSFIELD School of Art, Design and Architecture Department of Design
‘Contemporary fashion icons are more transient than fashion icons of the past’
KATIE CALVERT
A Case Study submitted in partial fulfilment of the requirements for
BA (Hons) Fashion, Communication and Promotion.
Module THD1038 Creative Industries Professional Case Study The candidate confirms that the work submitted is their own and that appropriate credit has been given where necessary and reference has been made to the work of others. The University of Huddersfield School of Art & Design Department of Design Huddersfield West Yorkshire ENGLAND
February 13th 2015
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Cara Delevingne 4
ACKNOWLEDGMENTS
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n immense thank you to everyone involved in creating my case study, without whom it wouldn’t exist.
I would like to thank my parents for their unwavering love and financial support; my brother, for his Indesign skills; my mother, for the hours she has taken out of her time to proofread, and what an excellent job she has done; to my university tutors, especially to Claire, for her ideas and guidance. Thank you!
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Kate Moss 6
ABSTRACT
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his case study presents an exploration and discussion of fashion icons and their transient nature. It gives historical context to the fashion icons of the 20th century,
detailing how they gained the status of fashion icon, often through setting trends and defining a decade, and why the term is still relevant to them today, often as a result of their innovative ‘look’ still reverberating on the catwalk and in the street. This historical context is required in order to understand whether contemporary fashion icons are more transient today than they were in the past and, in some instances, to compare them. Contemporary fashion icons are identified through British Vogue and other media outlets, with some historical context attached for comparison, before a content analysis of British Vogue, over a five-year period, is undertaken as the primary source to determine the statement. It has concluded mixed results. Whilst the majority of contemporary fashion icons appear not to be transient it is difficult to prove conclusively without the passing of time. Of the new breed of contemporary fashion icons, their analysis is hindered by the lack of historical context with which to compare them to. Furthermore, although British Vogue is an authoritative and important voice within the fashion industry, it is but one voice in a sea of media outlets. The transient nature of a contemporary fashion icon is difficult to determine through just one publication and thus further study would need to be undertaken to have a clearer picture.
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CONTENTS Chapter 1: Introduction to the Case Study Introduction p.12 Rationale p.13 Aim and Objectives p.14 Methodology p.15 Case Study Structure p.17
Chapter 2: Historical Context 2.1 What is a fashion icon? p.21 2.2 From fashion leader to fashion icon p.21 2.3 The Establishment p.22 2.3.1 Royal Elite p.22 2.3.2 Hollywood p.25 2.3.3 Political Elite p.30 2.4 The Non-conformists p.31 2.4.1 The Eccentric p.32 2.4.2 The ‘It’ Girl p.34 2.4.3 The Model p.38 2.5 Fashion Elite p.40 2.5.1 Fashion Designers p.40 2.5.2 Fashion Editors p.42 2.6 Conclusion p.42 Timeline p.44
Chapter 3: Identifying Contemporary Fashion Icons 3.1 The Establishment p.48 3.1.1 Royal Elite p.48 3.1.2 Political Elite p.48 3.1.3 Hollywood p.48 3.2 The Non-conformists p.50 3.2.1 The Model p.50 3.2.2 The ‘It’ Girl p.50 3.2.3 The Eccentric p.51 8
CONTENTS 3.3 Fashion Elite p.52 3.3.1 Fashion Designers p.52 3.3.2 Fashion Editors p.52 3.4 The New Breed p.52 3.4.1 Fashion Bloggers p.53 3.4.2 Reality Stars p.53 3.4.3 The Russian Pack p.53
Chapter 4: British Vogue and the Transiency of Contemporary Fashion Icons 4.1 Introduction p.58 4.1.1 Contemporary Fashion Icons p.58 4.1.2 British Vogue p.58 4.2. Front Covers p.59 4.3 The Establishment p.59 4.3.1. Royal Elite p.59 4.3.2. Political Elite p.62 4.3.3 Hollywood p.62 4.4 The Non-conformists p.66 4.4.1. The ‘It’ Girl p.66 4.4.2 The Eccentric p.66 4.4.3 The Model p.70 4.5 Fashion Elite p.74 4.5.1 Fashion Editors p.74 4.5.2 Fashion Designers p.76 4.6 The New Breed p.78 4.6.1 Fashion Bloggers p.78 4.6.2 The Russian Pack p.78 4.6.3 Reality Stars p.82 Chapter 5: Conclusion p.84
Reference List p.86 Image Reference List p.88 Bibliography p.91 9
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CHAPTER 1: INTRODUCTION TO THE CASE STUDY
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INTRODUCTION
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his case study presents an insight into the relationship between British Vogue and fashion icons today, with historical context.
It can be difficult to determine who is a fashion icon and what makes us perceive them as fashion icons. History and the passing of time have given us a range of fashion icons with the longevity to still inspire today. The media plays an important role in propelling a public figure to the status of fashion icon. However, throughout the 20th century, and up to the present day, the original framework of the media has changed dramatically. The introduction of photography in printed publications is one example, and today social media allows everyone a say on almost any subject, instantly. Whilst an understanding of the history of fashion icons can inform other areas of the fashion industry, this study of British Vogue will seek to teach us if the fashion icon of today is more transient than fashion icons of the past. The study will inform the unaware of the identity of contemporary fashion icons, and for those already with an interest, it will provide a detailed content analysis of how British Vogue perceives them and if any fashion icons have the longevity to sustain their status for years to come.
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RATIONALE
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he media discusses what a fashion icon is and who our current and past icons are, sometimes on a daily basis. But the question how transient they are, particularly
through the pages of British Vogue, has not been studied. The fashion industry is complex and diverse but our understanding of what makes a fashion icon endure can increase our perception and knowledge of the fashion industry and its mechanisms. The fashion icon is intrinsically linked with the emergence of trends. Fashion icons are often trendsetters, and even define a decade. However, if this studies statement is correct and they are now more transient than previously thought, then one would conclude that the nature of the fashion industry is changing in a similar way. It is well documented that the media is changing at an ever-increasing speed, with more focus on the digital and online aspects of the industry. In recent times the emergence of blogging and social media has transferred some of the authority, previously held by print publications, governing what is trendy and what is not. Much is made of the death of print publications but Vogue is a stalwart of the industry, holding a peculiar place as the ‘Fashion Bible’. As the chief primary source, it will not only provide evidence of how transient fashion icons are, but also determine how relevant Vogue is as an authoritative figure in fashion and its changing landscape, and if it is necessary for it to willingly adapt.
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AIM & OBJECTIVES Aim To explore and discuss whether contemporary fashion icons are more transient than fashion icons from the past through the pages of British Vogue over a five-year period, from January 2010 to December 2014
Objective 1: Define the historical context of the fashion icon and how they have retained their status as a fashion icon Objective 2: Identify contemporary fashion icons in the media today Objective 3: Identify whether contemporary fashion icons are more transient than fashion icons in the past through the pages of the luxury fashion publication, British Vogue, over a five-year period
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METHODOLOGY
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rimary and secondary research has been carried out to inform this case study. This has ensured that the study is informative and conclusive.
Primary Research To prove or disprove the study’s statement has required the content analysis of British Vogue, over a five-year period, January 2010 to December 2014. Researching any earlier would have been a misinterpretation of the word contemporary. British Vogue has been chosen as the media of choice for a number of reasons. To try and gather information from more than one media source would have been a constraint. To focus on one means that the analysis is specific to one publication’s belief, and is not polluted by others. Vogue is a well-established and respected fashion publication, and has been a staple of the fashion industry since 1892. The title of ‘Fashion Bible’ is regularly used as a description for it. The categories to be discussed and dissected for their transient nature are, aside from reality stars, suited to high fashion. It has an authoritative voice in the world of fashion, dictating who are current fashion icons, and prides itself on up to the minute trends, featuring some of the worlds most influential ‘fashion darlings’. As a luxury fashion magazine, Vogue is the perfect primary source with which to discover how transient contemporary fashion icons are today. Secondary Research This was carried out in the form of books and online material. A history of twentieth century fashion has been helpful to inform the historical context of the fashion icon. Books specifically on fashion icons and less specific fashion books about changes and trends in fashion, as well as books with opinions by industry experts, have all been informative. A study of fashion blogs was required to determine their popularity and authority in the fashion industry.
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METHODOLOGY(CONTINUED) This study only discusses female fashion icons. As a wide-ranging subject, discussing both genders would have been far too extensive. Furthermore, British Vogue is a female fashion publication and since this is the basis for the primary research of this study only females will be discussed in the historical context of chapter 2 and throughout. Because of how diverse fashion icons are they have been categorised. Each icon has been contained within a category based on their role in society and popular culture. Furthermore, each category has then been further grouped when an understanding of how and why they have such a good sense of style has been determined. The first section focuses on women who, alongside their innate sense of style, were also dressed by other individuals and used fashion as a tool to enhance their role in society – the royal and political elite and stars of the silver screen. The next category contains those that are relatively free from the constraints of protocol and PR, and dress for themselves – the model, the ‘It’ girl, and the eccentric. Finally, we have the fashion elite – fashion editors and fashion designers, who’s role it is to look fashionable and stylish, who live and breathe fashion on a daily basis and who style themselves accordingly. Music stars are not a part of this study of fashion icons. Although they are apparent in some articles on fashion icons and they do appear on the pages of British Vogue, their status, as a fashion icon, lies more in their showmanship skills than their style abilities and is the reason for their lack of inclusion in this study. An example is Madonna who has repeatedly changed her style over the years to suit whichever album she is releasing. A fashion icon, on the other hand, has a distinct ‘look’ that they stay loyal to. Within the pages of British Vogue the focus of the music star is on the music and the costumes they wear for stage performances, often alongside a styled shoot. Their personal style is not apparent. They are music icons, not fashion icons.
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CASE STUDY STRUCTURE
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irstly, a study of what a fashion icon is has been undertaken, before some historical context sets the scene. Fashion icons throughout the 20th century have been researched
and written about to determine how they were perceived and how they have gained the longevity to still be an inspiration as fashion icons today. Each prominent fashion icon has been categorised. For example, ‘the Establishment’, and then sub categorised, e.g. ‘Royal Elite’. A timeline gives more examples of fashion icons and the fashion industry through this time frame and the part the media has played. The ‘contemporary fashion icon’ chapter discusses contemporary icons from the last 5 years, with background information and why they are fashion icons of today. Here categorisation is included, and thus some historical context is required. The final chapter looks to identify whether fashion icons are more transient than in the past. This has been achieved through primary research. The focus of this is on British Vogue, investigating a five-year period from January 2010 to December 2014. The fashion icons discussed and categorised in the previous chapter have been sourced through British Vogue as the luxury fashion publication to analyse, in order to discover the role it plays in the image of the fashion icon and whether they are more transient than in the past. Finally, the conclusive chapter summarises the case study’s findings. Images accompany each chapter in order for the reader to visualise fashion icons that are discussed.
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CHAPTER 2: HISTORICAL CONTEXT
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Queen Alexandra 20
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2.1 What is a fashion icon?
Over the course of this chapter it will become clearer
ow does one explain a fashion icon when
who and what a fashion icon was in the 20th century and
it is the fashion ‘elite’, the media, and the
into the early 21st century.
general public, all of whom often have very
different opinions of what constitutes a fashion icon, who decide who and what is a fashion icon?
2.2 From fashion leader to fashion icon
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he fashion icon can be clearly defined in the twentieth century. Up to and including the early
According to Collins English Dictionary, a source
20th century, fashion icons were more commonly
quoted by many, a fashion icon is “a person or thing that
considered as fashion leaders. These leaders had been the
is very well-known as being highly fashionable”. This
very highest members of society. Consider royalty and
is a broad statement, when one considers the definition
aristocracy, such as the Prince Regent and his fondness
of fashionable – ‘characteristic of, influenced by, or
for dandyism or Princess, later Queen, Alexandra, wife
representing a current popular style.’ This definition
of King Edward VII, revered for her elegance and beauty.
could encompass any celebrity or, indeed, anyone at all.
This precedent, of royalty and aristocracy influencing
Firstly, to be a fashion icon one must be known publicly.
fashion, has continued to the present day. One only has
This prevents just anyone from becoming a fashion icon.
to pick up a magazine and one will undoubtedly find the
Secondly, not every individual or celebrity in the public
Duchess of Cambridge amongst its pages. Alongside
eye is a fashion icon. They must be attractive, extremely
these wealthy and influential figures of elitism sit icons
stylish and embody characteristics that the public admire
of different class and ‘profession’.
and wish to emulate.
As Berg’s Companion to Fashion states, “during the
Fashion icons have long set the trends, making them
second half of the twentieth century, fashion became
rather than following them, and have embodied the
less hierarchical, meritocratic, and media-dominated”
period in which they lived, being directly referenced
(Steele, 2010, p. 286). Whereas, previously the media
as a precursor for the styles of that time. Some fashion
had been compelled to highlight the fashions set by
icons even become timeless, often mentioned in popular
these society leaders, as fashion became more inclusive,
culture and used as inspiration for the trends of today.
those who set trends and garnered attention through their
A fashion icon must have style and, according to stylist
attire, changed, propelling individuals known for their
Katy England, “to have ‘style’ is quite a rare thing.
career and style, rather than their class, to the status of
It’s when someone’s visual senses are heightened. It’s
fashion icon.
instinctively knowing how to put one’s whole self –
Today, the power has shifted further, shared by both the
clothes, shoes, hair, make-up, nails, etc., together in
print and online media. The rise of the digital blogger
harmony and having the self-confidence to do it” (Jaeger,
and social media has done much to engineer this change.
2009, p. 202). A fashion icon is, therefore, quite a specific thing, but one that ultimately embodies great individual style, which hordes of women wish to emulate. 21
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royalty.
prominent people have always “exerted tremendous
abdicated. Carolina Herrera, whose garments adorn
sway in fashion” (Worsley, 2011, p. 10). They’ve had to
many actresses on the red carpet, describes her style
be stylish yet conservative, admired yet equally open to
as “the style of greatness” (Werle, 2009, p. 18), and
criticism. Those that have shone sartorially and gained
explains that, “because her style was unrivalled, her
the attention of the world’s media have done so through
influence was felt around the world” (Werle, 2009, p.
a mixture of hired help, either a designer or stylist, and
18). Her good sense of style was thrust into the spotlight
their own innate sense of style.
because of her marriage to the Duke of Windsor but with
The starlets of the silver screen have had to deal with
an influence that spanned continents, she gained iconic
similar constraints, though on a less conservative level.
fashion status. The world may have been stunned by a
Lines between an actresses on and off-screen persona
commoner seducing a King, but she wasn’t prevented
have long been blurred and contractual obligations have
from becoming “one of the most notable style icons of
meant they were often not to stray far from their styled
its time” (Werle, 2009, p. 18). She shone as an arbiter of
‘look.’
impeccable style next to equally well-dressed husband.
Exceptions will always abound. For instance, Katharine
History has remembered her as a true fashion icon.
Hepburn is an anomaly. When her studio attempted to
Later in the century, a young Diana Spencer became
prevent her from wearing trousers by removing them
wife of the Prince of Wales. Princess Diana is arguably
from the film set, she is said to have walked about with
the most famous royal of the 20th century, whose public
nothing but underwear on her bottom half.
admiration for herself and her style has only recently
In order to be able to decipher whether or not
been matched with the marriage of her son, Prince
contemporary fashion icons of these three sub-categories
William, to Catherine Middleton. As a young bride to be,
are indeed more transient than in the past, we must first
her first public engagement with the press caused quite
study some historical context. This gives the reader
a stir, when it was noticed that she had failed to wear a
an understanding of what it takes to be a fashion icon,
slip under her thin dress. From that point onwards she
namely style and longevity, in the eyes of the media.
was under the gaze of the media spotlight and how she
2.3 The Establishment he royal and political elite sub-categories have
A prime example is Wallis Simpson, Duchess of
long been constrained by protocol, yet these
Windsor, and wife of Edward VIII, the King that
dressed was always going to be open for discussion. As a
2.3.1 Royal Elite
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new bride, and young Princess, her style was somewhat
ince their beginnings, royalty has had the power
questionable. Her wedding dress was widely criticised,
to influence all aspects of public life, including
but the Princess’ popularity silenced the media and
fashion trends. Queen Alexandra, wife of King Edward
her dress set off a trend for “gowns of meringue-like
VII, was universally known for her high-necked pearl
proportions” (Reed, 2013, p. 38), and her English upper-
chocker’s. Even Edward’s mistresses were looked upon
class look was copied worldwide.
for style advice because of their close association with
From the birth of her sons until the separation from her
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Wallis Simpson 23
Princess Diana 24
husband, Diana stepped up a gear in the style stakes.
public to see the clothes clearly and watch them move.
She began wearing off the shoulder, figure-hugging
A star’s popularity meant that they could popularise
dresses. As a member and later close associate of the
multiple fashions at once, for instance Greta Garbo’s
royal family, her look spoke volumes. As Werle (2009)
berets and trench coats became a style inspiration for
explains, “it was an act of liberation, a declaration of war
generations.
on the royal family. And her greatest weapon was her style” (p. 114). She was using what had earned her most
Garbo’s main rival and contemporary was Marlene
attention in order to boost her confidence and show the
Dietrich, since both actresses were known for their
royal family what they had lost. But to do this she needed
similar striking looks and modern sense of style.
help. With a handy black book of fashion designers,
Buxbaum (2005) explains that both film stars “modelled
such as John Galliano, clamouring to dress her, and a
this new and extraordinarily appealing crossover
fashion education from the staff at British Vogue, in the
between masculine and feminine” (p. 32), which millions
words of Werle (2009) “no one developed from mousy
of women followed. Dietrich was, however, according
wallflower to glamorous style icon so sensationally, and
to Müller (2008) “Hollywood’s first true femme fatale”
no one used fashion so aggressively for her own PR as
(p. 48). Her signature look of tuxedo’s, suits, jackets
Diana” (p. 114). That determination and shrewd use of
and trousers was both masculine and modern, and she
fashion insiders meant that the fashion industry and the
carried this personal style on and off-screen. This is
media as a whole admired her style, a feeling that has
evident with so many Hollywood actresses from this
not waned since her premature death. Her longevity as a
period. Their ‘look’ became ingrained in the public’s
fashion icon had been secured.
mind, resulting in an easy transition to fashion icon. Although undoubtedly masculine, Dietrich made her
2.3.2 Hollywood
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outfits look glamorous, always carrying herself with
ften, “Hollywood leading ladies were styled to
what Werle (2009) describes as an “infinitely erotic
within an inch of their lives” (Worsley, 2011,
aura” (p. 110). Unusually for the time, Dietrich reserved
p. 85). Whereas today we think of fashion designers
the right to be consulted on everything that she wore
clamouring to dress actresses on the red carpet, in the
on-screen; believing her own innate sense of style was
first half of the 20th century Worsley (2011) explains,
enough to sustain her status symbol as a fashion icon.
“film studio costume designers, such as Travis Banton
What Dietrich’s style did, most importantly, was pave
and Gilbert Adrian, ensured that the stars looked as
the way for modern female fashions by making “trousers
impeccable off-screen as they did on it” (p. 10).
seem sexy rather than merely functional” (Steele, 2010,
Actresses, over the first half of the 20th century “became
p. 287). Hollywood icons set the trends of the day
models for millions of women who, before Vogue and
but the longevity they have acquired to sustain their
Harpers Bazaar were widely circulated, drew their
fashion icon status has been built by creating a look
fashion sense from the silver screen” (Buxbaum, 2005,
that is synonymous with them. This was often achieved
p. 54). This exceedingly modern medium allowed the
through a blurring of lines in what they wore on and 25
Marlene Dietrich 26
Katharine Hepburn
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off-screen. Dietrich, herself, summed this up perfectly
the public in embracing their ‘look’.
when she exclaimed, “I dress for the image. Not for
The 1950’s heralded a change. Hollywood began to
myself, not for the public, not for fashion, not for me.
ditch costume designers in favour of fashion designers.
The image? A conglomeration of all the parts I have ever
This is no more evident than in the collaboration
played” (Buxbaum, 2005, p. 54). She has played the part
between actress Audrey Hepburn and Hubert de
of fashion icon, ever since.
Givenchy. According to Reed (2012) their collaboration “caused an earthquake among the style conscious” (p.
Although the golden era of Hollywood is so often
50). Givenchy brought in simpler lines, high waists,
associated with glamour and femininity, there will
straight tailoring and flats. Although more feminine
always be anomalies to this, someone’s style that stood
than Dietrich or Katharine Hepburn, she was still an
out as rule breaking, instantly elevating them to the
antithesis to the blonde, curvaceous look in Hollywood,
status of fashion icon. True to her masculine style off
and, like Dietrich and Katherine Hepburn, she was as
screen, Dietrich had some of these qualities, but Werle
stylish off-screen as she was on. It was no accident that
(2009) states she “exploited the sex appeal of both
Audrey Hepburn elevated herself to global style leader,
genders” (p. 86). Katharine Hepburn, on the other hand,
as Givenchy said, “she knew exactly what she wanted”
was purely androgynous. Although she cared little for
(Reed, 2012, p. 50). Givenchy may have had the
PR, her fashion style, as one contemporary fashion
creative brain and talent to create sumptuous garments
magazine stated, “almost singlehandedly broke down
but she still had the style. Hollywood actresses were
the dress code for women” (Reed, 2012, p. 16). This
then, as they are now, styled to within an inch of their
innovative style included wide-legged, pleated trousers,
lives. Certainly Hepburn used this approach effectively
flat loafers, mannish shirts and tailored jackets. Her look
on-screen, and never more so than in Breakfast at
came natural to her. She had worn trousers from an early
Tiffany’s (1961), who’s opening scene of Hepburn in a
age, thus her look wasn’t stage-managed or executed by
little black dress and pearls, made fashion history and
someone else, quite the anomaly in the film industry.
is a look that women today still symbolise as chic. But
Her intention would not have been to be remembered
what Hepburn’s intuitive style allowed her to do was
as a fashion icon and yet, she is, because her trademark
translate this effectively off-screen. It thus makes sense
style items are all “instantly recognisable ingredients
that revered shoe designer Manolo Blahnik called her
that constantly resurface on catwalks to this day” (Reed,
style “the most important look of the twentieth century”
2012, p. 16). Hepburn bucked the trend of beautiful
(Reed, 2012, p. 60).
feminine starlets and in the process created a fashion icon. She was awarded a Council of Fashion Designers
Although Hepburn “represented a much sought after
of America (CFDA) award in 1986, which recognised
antithesis to the opulent blonde look in Hollywood”
her role as a non-conformist in 20th century fashion. Not
(Werle, 2009, p. 20), Marilyn Monroe was, and remains,
every fashion icon will receive an award for their style;
the most famous blonde in Hollywood.
recognition is through acceptance by the media and by
Norma Jean Baker, a pretty brunette was transformed
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Audrey Hepburn 29
into the legendary blonde bombshell Marilyn Monroe.
are as remembered for their style as much as they are
This transformation was acted out both on and off-
for their acting. Consider post 1960’s Hollywood, and
screen, a persona that she never could escape from. Hers
few actresses conjure up as strong a sense of style as the
was the whole package – personality, beauty and style
women already mentioned. From the 1920’s to the 1930’s
– all created by the film studio and frozen in time due
“most style-conscious women went to the cinema instead
to her premature death. She may have become trapped
of paging through Vogue” (Werle, 2009, p. 104). By the
in a look that defined her but Steele (2010) argues that
1950s televisions appeared in people’s front rooms and
she’s “arguably the most influential star of all time as
fashion magazines were more widely available, ranging
women sought the different components of her ‘look’”
from Vogue to Harpers Bazaar, and Marie Claire to Elle.
(p. 422). In so many people’s minds Hollywood and
With this, models now had names and were mentioned
Marilyn Monroe are synonymous with one another. And
in the same vain as actresses and celebrities. A wider
with her death, Hollywood’s golden era appears to end.
choice meant a wider range of individuals to choose
All of those mentioned and many more, including Greta
as fashion icons. However, much of what women wear
Garbo, Lauren Bacall and Joan Crawford, set trends that
today is a legacy of the old Hollywood style, including
are still reverberating on the catwalks today and they
trousers, t-shirts and jeans. The golden era of Hollywood defined a century of style. The aforementioned actresses had an innate sense of style, which, with the help of others, set them up as lasting fashion icons.
2.3.3 Political Elite
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n common with Hollywood actresses and royalty, Jacqueline Kennedy’s look was styled and used
as a communication tool. Working closely with Oleg Cassini, Kennedy created a conservative, yet fresh, style with straight loose-cut dresses, dress coats and pillbox hats, which she singlehandedly brought back into fashion (Worsley, 2011, p. 22), and that “offered a welcome alternative to the pretentious style of the postwar years” (Werle, 2009, p. 14). Her role and status as America’s first lady relied on her to be conservative but this didn’t prevent her from establishing “a unique look that was dignified and elegant but also photogenic and
Marilyn Monroe 30
recognisable” (Steele, 2010, p. 136). It could be argued that John F Kennedy’s short
presidency, often described as innovative and glamorous, is the reason for Jackie’s longevity as a fashion icon. The media, which Life Magazine, in 1960, said, “despite herself she is becoming the nations’ #1 fashion influence” (Lillethun & Welters, 2007, p. 291), never had the chance to become bored with her style. However, this underestimates just how modern and stylish her look was to most women and the ‘star quality’ that she is so often described as possessing, “only Jackie’s star quality could take such a simple formula and invest it with the power to alter permanently the direction of women’s fashion” (Lillethun & Welters, 2007, p. 287). This is evident in the fact that after her time as first lady it became de rigueur for wives of public figures to be turned out stylishly and have a look that the public received favourably. Prior to this, the statesman’s wife was simply a steady, reliable figure at her husband’s side, not a fashion icon. However, it is obvious that Kennedy set a precedent that few women have since succeeded in living up to. What clearly links all of these stylish individuals is the understanding that their success as fashion icons was no mistake. For the majority, each outfit was choreographed for maximum impact, to support their roles in public
Jacqueline Kennedy
2.4 The Non-conformists
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n contrast to the royal and political elite and the Hollywood stars of the 20th century, there are a
number of individuals known as the model, the ‘It’ girl
and attract popular press. Their ‘look’, and their
and the eccentric. These individuals have not had to
ability to translate this across all aspects of their life,
dress a particular way to please others or reap positive
professionally and personally, but always publically,
media attention. Instead, they have had free rein to dress
has meant that their style has been revered by the press
to please themselves, displaying their style preferences
both then and now, and become ingrained in the fashion-
and even their personality through the clothes on their
conscious mind of the modern woman.
back. Often they have been interchangeable. Some ‘It’ girls have been models, and some eccentrics have been ‘It’ girls. Occasionally, they bridged the gap between themselves and other categories. An actress whose style is at odds with her contemporaries may have been 31
considered an ‘It’ girl, whilst a fashion editor may have
fashion icons. Without a doubt Casati and Blow had style
been considered an eccentric.
in abundance and amongst the fashion industry they will always be revered. But their look didn’t thrust them into
2.4.1 The Eccentric
A
the limelight in the way that Princess Diana or Audrey
s previously explained, in the early part of the
Hepburn’s did. The media only became interested in
20th century, aristocracy and society ladies were
Blow when the story of her struggle with depression,
the fashion leaders of the day. Fashions were followed
alongside her aristocratic and scandalous background
but certain individuals shone. One such woman was
became a source of interest. Both these women, and
Marchesa Luisa Casati, whose name was chosen to front
other fashion eccentrics, embodied by Daphne Guinness
the Marchesa fashion brand, loved by many red carpet
today, have no definitive role in society. Often they come
stars. Casati was remarkably tall and thin and stood with
from aristocratic backgrounds where their longevity is
an aura of superiority. She had a body that looked great
built on a name, and they have the time and passion to
in almost anything. Her gowns were commissioned from
dress themselves as extrovertly as they wish, in outfits
Poiret or Fortuny, and were more like costumes than
so outlandish that they surpass all good or bad taste. To
mere garments. Simon Doonan (2011) describes her
those in the know their style is unforgettable, and their
as one of those “unconventional stop-at-nothing, Dada
status as fashion icons is cemented.
fashion provocateurs” (para. 4). Much later in the 20th century, Isabella Blow left her mark on the fashion landscape. This “fabulously eccentric creature” (Blow, 2007, p. 67) worked for American Vogue during the 1980s. She would turn up to work as a punk, a corporate businessman and Joan of Arc, all on any one day. She expressed herself wholeheartedly through her outfits. As Trebay (2007) explains, “she delighted in flouting convention and personal comfort, appearing in one-legged trouser suits, outfits of chainmail or a Japanese designer’s version of a burqa” (para. 7). Along with Casati, she is remembered as a unique fashion icon, taking her British eccentricity and mixing it with her desire and need to be in character delighting and amusing those around her, but not as a tool to be photographed by the media. It has been argued that only those with free creative license and their own clever ability to choose clothes themselves and carry them off with aplomb are true 32
Marchesa Luisa Casasti
Isabella Blow 33
T
Bianca Jagger is remembered for two things – as the
attention. Where once these women would have been
memorable to date, an Yves Saint Laurent skirt suit worn
the society ladies of the day, fashion became steadily
without a blouse. This was the look that set her on the
more inclusive in the second half of the 20th. For
style path and into the style conscious minds of women
example, Jane Birkin, after whom Hermès famously
everywhere. She regularly attended the infamous Studio
named the Birkin bag, a bag that is today “one of the
54, an extremely fashionable nightclub, once arriving
hottest and most exclusive status bags” (Worsley, 2011,
there for her birthday wearing Halston and riding a
p. 199) with up to a two year waiting list, was an actress
white horse. Her look could be dramatic and she was
and singer in the sixties and seventies. But during this
the Queen of Disco, leading never following. Although
period she became better known for her simple style of
she retired from public life, she is still synonymous with
t-shirt, jeans, and straw basket. All of these items are
1970’s style, appearing as style inspiration in magazines
relatable today and her look has spawned endless copies
and online, reinforcing her status as a fashion icon.
on the catwalk and high street. Though still alive, she
What these ‘It’ girls demonstrated was that an aura of
has retired from the public eye, but is still synonymous
cool combined with an innate sense of style. This could
with her ‘look’.
appear simultaneously accessible, because it was never
Two further notable ‘It’ girls, who were also most
too outlandish, yet just out of reach, because it always
prolific during the same period as Birkin, when fashion
appeared to be achieved with an ease not emulated by
became more democratic, were Edie Sedgwick and
just anyone. These qualities made them fashion icons,
Bianca Jagger. Sedgwick was the muse of Andy Warhol
regardless of their profession. They often set the trend
for just a few short years but in that time she left an
for the decade and, because each decade is defined
indomitable mark on fashion history, with the longevity
by a ‘look’ or ‘looks’, these trendsetters achieved the
of a fashion icon. John Galliano explained this perfectly
longevity to retain their titles as fashion icons.
2.4.2 The ‘It’ Girl he ‘It’ girls are equally well known in fashion
wife of Mick Jagger, front man of The Rolling Stones,
circles, but have often gained more media
and her style. Her wedding outfit is one of the most
when he said, “she created her own identity. She may have had fifteen minutes of fame, but her style and image influenced a whole generation” (Werle, 2009, p. 44). Her look consisted of striped t-shirts, heavily lined eyes and brows, fur coat, black leotards and large earrings. She didn’t vary this look “but it was precisely this clearly defined wardrobe that made her one of the founders of the popular sixties beatnik look” (Werle, 2009, p. 44). She became immortalised in that period, eventually being played by a contemporary ‘It’ girl, Sienna Miller, in The Factory Girl (2006). 34
Jane Birkin 35
Edie Sedgwick 36
Bianca Jagger 37
T
copies of a magazine (Sinclair, 2010, p. 121). “They built
onwards. Prior to this models hadn’t registered as
career so successful that it gained them longevity as the
anything more than live mannequins to the public.
first supermodels and as fashion icons.
2.4.3 The Model here began a feeling of freedom of style and
careers based not so much on their talent as individuals
individuality in Western fashion from the 1960s
but on the power of their images” (Reed, 2013, p. 36), a
But then “the explosive growth of fashion magazines gradually transformed them into mirrors of femininity”
These three sub categories are all interchangeable. Often
(Müller, 2008, p. 264). The arrival of Twiggy in 1966
the models and the eccentrics were their decades ‘It’
“introduced the cult of the “celebrity model”” (Steele,
girls. Each carried themselves with a style that was very
2010, p. 696), a model whose private life was as well
much their own, and not created to enhance a profession.
known as her career. Her longevity as a fashion icon
Although in the case of the model and ‘It’ girl it certainly
is identifiable through her close association with the
could enhance their position. Individual style cultivated
1960s. She was the face of this decade. Her legacy as a
for themselves makes them all deserving of the fashion
‘celebrity icon’ is evident in the success of Kate Moss,
icon status bestowed upon them, and the huge influence
who revived the waif look first popularised by Twiggy,
they had means that the status of fashion icon is still
and whose sartorial choices are as closely watched
bestowed upon them today.
and copied now as they were twenty years ago. Moss is difficult to discuss in any past tense because she’s as relevant as a model and fashion icon today as she was in the 1990s. As Manolo Blahnik, famed shoe designer, explains, “she is a true fashion icon of our times” (Buttolph, 2008, p. 55). Moss’ waif look and grunge brought about the end of the supermodels. By 1995 they were too over-exposed and their Amazonian qualities no longer suited the zeitgeist. But history has been kind to them. Their popularity went further than the fashion industry. As Worsley (2011) explains, “when the girls became household names outside of the fashion industry, the public began to view them as fashion icons and personalities” (p. 106). Their fashion icon status was as much about their image as it was the clothes they wore, often dressed and styled by Gianni Versace, for example. Striking but with their own individual and recognisable ‘look’. Their power and status meant they could sell 25 to 30 percent more 38
Twiggy 39
2.5 Fashion Elite
F
Vanity Fair, in 1971, perfectly explained, “everybody
ashion editors and fashion designers, the fashion
knows how dramatically Mary Quant shuttled the staid
elite, have always been driving forces behind the
old fuddy-duddy fashion industry” (Worsley, 2011, p.
fashion industry. Editors report the fashion, making
136). She herself wore her innovative designs, much like
decisions on what will be newsworthy and displaying
Chanel, and other recognisable designer fashion icons,
it in an eye catching way. Without the designer’s talent,
such as Elsa Schiaparelli and Vivienne Westwood in the
in their magazine and on their person, they would have
20th century. Each of these fashion icons recognised the
nothing to display or wear. For a fashion editor, it has
power of self-publicity, yet they were committed to their
always been generally accepted that to look good is part
style. They didn’t submit to the changes but instead,
of the role, and though they may have a budget from
each conserved their ‘look’, creating distinctive styles
the magazine and endless contacts, fashion is their life
and longevity as fashion icons.
and they also have an innate understanding of style. Designers have not had the pressure to look fashionable or stylish. The focus has often been entirely placed on their designs, but there are a number of women who have stood out, often for championing their own designs and setting the trend for a particular decade.
2.5.1 Fashion Designers
G
abrielle ‘Coco’ Chanel was an early moderniser and fashion icon, whose basic design aim
“freedom of movement” (Steele, 2010, p. 287) is still echoed on the catwalk today, not only by the House of Chanel but by other design teams too. She designed for the ease and comfort of women, but not only did she create stylish women, she was one herself. As Buxbaum (2005) explains, “Chanel was her own best mannequin” (p. 27). She embodied the modern woman, a ‘look’ that to this day is recognisable from the first time it was designed for women to the designs of today, as wearable then as it is now, Chanel “was ahead of her time” (Werle, 2009, p. 78). She believed totally in this look and with it she became a fashion icon. Mary Quant was another moderniser, emerging in the 1960s, as Chanel was nearing the end of her career. As 40
Mary Quant
Gabrielle ‘Coco’ Chanel 41
2.5.2 Fashion Editors
F
fashion history as fashion icons.
ashion editors are rarely recognisable to anyone outside the fashion industry, but their job has
2.6 Conclusion
always been to be stylish and a few have reached iconic
This history of the fashion icon over the last century
fashion status.
explores and explains how a fashion icon is created
Possibly, the most famous fashion editor of the twentieth
and just how different each one can be. Some appear
century was Diana Vreeland, who began as fashion editor
interchangeable. The political and royal elite has often
for Harper’s Bazaar, but is best remembered as editor-in-
had help and advice, when dressing, whilst the models
chief of American Vogue. She preferred sharply tailored,
were very often the ‘It’ girls of their time. But the thing
elegant clothing complimented by wild accessories and
that clearly separates each is their style. Each one is
a turban. As editor of Vogue she was “experimental,
remembered for captivating an audience; the media and
inspired, visionary, tyrannical, and extravagant to the
the public, with a ‘look’ so eye-catching and pleasing
tips of her perfectly arranged hair” (Werle, 2009, p.
that they have managed to stay on the style conscious
130). This translation of her creative flair onto the pages
mind until the present day and will undoubtedly do so
of Vogue has left a lasting legacy. She diversified the
for years to come.
pages of Vogue, in the process becoming a fashion icon, a title still befitting of her today. Babe Paley, one time fashion editor of American Vogue, was one of the best-dressed women of her time. In fact she made the top of the International Best Dressed list an incredible fourteen times. Her power and influence as a fashion editor meant that wearing a designers clothing symbolised her seal of approval. Because “what she wore, she wore in a way you would never forget” (Reed, 2012, p. 96) this endorsement could only improve a designer’s reputation. This sort of lasting impression leaves her with the longevity of a fashion icon. These members of the fashion elite were committed to a style that they cultivated and used as a tool of selfpromotion. A designers ‘look’ was so refined that they could produce and sell a whole collection on it, and an editor’s ‘look’ could effectively promote fashion publications, influencing the direction it would take, and that of the rest of fashion. This cements their place in 42
Diana Vreeland 43
Timeline
Theatre as an engine for the creation and promotion of fashion, since 17th/18th centuries e.g. Mimi Dancourt 19th/20th century – people flocked to theatre to see the latest styles illustrated on fashion plates 1892: American Vogue founded
1900’s
1900: Jeanne Paquin – “first couturier to become a fashion icon. She was the personification of her own style, and her popularity prepared the way for the next great fashion personality – Coco Chanel” (Buxbaum, 2005, p. 22) Luisa Casati – “truly the high priestess of eccentricity” (Blume, 2010, para. 6). Muse to Ezra Pound, Pablo Picasso, Jean Cocteau
1903: Paul Poiret’s designs “painted the way towards a modern era” (Buxbaum, 2005, p. 21). His wife, Denise Boulet, was an early fashion icon, through displaying his garments on her fashionable body 1916: British Vogue founded
1920’s Louise Brooks – her style was “experimental and daring” (Young, 2013)
Coco Chanel “Chanel was her own best mannequin” (Buxbaum, 2005, p. 27)
1930’s Schiaparelli believed that film directly influenced what the ordinary people wore (Steele, 2010)
1934: Virginia Pope of the NY Times made fashion the topic of newspaper coverage. In Alongside the New York coverage of fashion she reported on Paris Haute Couture
Duke and Duchess of Windsor set fashion trends
Eleanor Lambert, publicist, initiated press weeks. She invited fashion editors to attend capsule presentations of her client’s collections.
1930/40’s Marlene Dietrich – “Hollywood’s first true femme fatale” (Müller, 2008, p. 48), her costumes had a “masculine style ahead of their times” (Müller, 2008, p. 48)
Carole Lombard, Bette Davis, Ingrid Bergman, Rita Hayworth, Joan Crawford “These actresses, and others, became models for millions of women who, before Vogue and Harpers Bazaar were widely circulated, drew their fashion sense from the silver screen” (Buxbaum, 2005, p. 54) 1940 - Eleanor Lambert, publicist, began the “International Best-Dressed Poll”
Greta Garbo – wore berets, trench coats and men’s pyjamas Jean Harlow – wore backless, bias-cut dress 1937: Marie Claire magazine founded Fan magazines were started – for example, Dorothy Lamour kept up a dialogue with fans as to whether or not to make another “sarong” film
1945: Elle magazine founded
1950’s 1953: Audrey Hepburn “admired for her elegant style on and off the silver screen” (Welters & Lillethun, 2007, p. 60) Marilyn Monroe – “arguably the most influential star of all time, as women sought the different components of her ‘look’” (Steele, 2010, p. 422)
44
Second half of 20th century – “fashion became less hierarchical, more meritocratic, and media-dominated” (Steele, 2010, p. 286)
1956: Grace Kelly - from film star to Princess Further notable fashion icons during this period: Lauren Bacall, Elizabeth Taylor, Brigitte Bardot
1960’s 1960: Jackie Kennedy “American First Lady Jackie Kennedy became a world fashion influence with her boxy suits and trademark pillbox hat” (Lillethun & Welters, 2007, p. 60)
Jean Seberg Charlotte Rampling Edie Sedgwick
Freedom of style and a sense of individuality dominated western fashion from the 1960s to the rest of the century
“Models such as Jane Shrimpton and Twiggy, film stars like Julie Christie and, above all, musicians were the new icons” (Steele, 2010, p. 287) Francoise Hardy Lauren Hutton Jane Birkin
Janis Joplin and Patti Smith: “astonishingly modern image of rebel outsiders” (Müller, 2008, p. 158)
1970/80’s Studio 54 style: Bianca Jagger, Diana Ross, Jerry Hall 1975: Vivienne Westwood, The Sex Pistols and Punk Annie Lennox“immortalised the punk look for girls” (Müller, 2008, p. 159) Blondie
Glam rock: men wearing make-up, David Bowie Grace Jones 1981: Princess Diana – as economic prosperity returned, so did conventional icons. Her ordinariness is what attracted the media in the 1980s; she was “one of them” (Steele, 2010, p. 129)
1990’s 1990: Madonna on Blond Ambition tour in conical bra, designed by Jean-Paul Gaultier 1992: Patrick Demarchelier’s American Vogue 100th anniversary cover featuring the ‘supers’ 1993: Kate Moss - “Kate became an icon for a new generation” (as said by Melanie Ward. Buttolph, 2008, p. 37) Popular on TV/Film: Friends (1994) – Jennifer Aniston as Rachel Green; Clueless (1995) – Alicia Silverstone as Cher 1998: Sex and the City “most fashion-orientated television show” (Welters & Lillethun, 2007, p. 71), promoted fashion icons on (Carrie Bradshaw) and off screen (Sarah Jessica Parker)
Supermodels: Cindy Crawford, Linda Evangelista, Christy Turlington, Naomi Campbell, Claudia Schiffer, Eva Herzigova, Elle Macpherson, and Carla Bruni – “represented the new superwoman” (Müller 2008, p. 264) InStyle magazine – “introduced the concept of fashion photo’s that centred on celebrities” (Müller, 2008, p. 329) 1996: Sharon Stone she wore a Valentino skirt, Armani coat, and a plain black Gap t-shirt (high-low mix) to the Oscars
2000’s Fashion magazines use more celebrities than models on their front covers. So the readers can emulate their star ‘looks’ 2004: The celebrity label/collaboration - “The practice of inviting celebrities to design or represent a mass-market label has proved most potent when the label finds its embodiment in a fashion icon whom customers admire” (Müller, 2008, p. 270)
2003: Paris Hilton – famous for being famous – “often feted solely for their latest outfit” (Müller, 2008, p. 329)
2004: Sienna Miller sparks off the Boho trend
Kate Moss: still a fashion icon
45
46
CHAPTER 3: IDENTIFYING CONTEMPORARY FASHION ICONS
47
C
ontemporary fashion icons are found within
as important today as when Jacqueline Kennedy
the pages of British Vogue and also viewed
orchestrated her appearance so effectively. The furore
and indentified by other media outlets. In
over Samantha Cameron, as the wife of a prominent
order to conclude whether they are, or are not, more
statesman, not wearing a hat to the Royal wedding in
transient than icons of the past a more detailed study of
2011 is a reminder of the sartorial importance placed
Vogue is necessary.
on her. Prior to the general election, Cameron had built her reputation in the fashion industry as creative director
3.1 The Establishment
of stationers, Smythson’s. Then, as the Prime Ministers
3.1.1 Royal Elite
wife, she was appointed Ambassador of British fashion,
K
ate Middleton has often been viewed as Princess
a natural progression. This role has seen her give talks
Diana’s successor, both for her fashion sense and
on the creativity of British based fashion designers
her popularity. Arguably, she is currently the world’s
and she is very much involved with events related to
most famous Royal, apart from Queen Elizabeth II.
the fashion industry, such as London Fashion Week. In
Harold Tillman doesn’t believe that “anybody else
common with Kate Middleton, she does not appear on
in the world actually has that stature” of popularity
the front of Vogue, even though she is equally popular.
(Bailey, 2011, para. 19). From an initial study of Vogue, Middleton does not appear on the front cover. However, this is not a surprise. Kate Reardon, speaking on ‘Posh People: Inside Tatler, makes the point that “she manages to not get eye contact with a single camera” (Khan &
3.1.3 Hollywood
W
hilst the identity of contemporary royal and political fashion icons is clear, even without
the need to thumb through the pages of Vogue, the
Coughlin, 2014), and according to Derrick (2007) one of
Hollywood fashion icons are less obvious. Prolific in the
the rules of the perfect front cover is eye contact (p. 5).
1990s as a replacement for professional models on the
Her status as a beloved royal and fashion icon of today
front of magazines, a scan of Vogue covers demonstrates
is assured, but a detailed study of Vogue’s contents will
that, though they still hold some of this selling power in
confirm if this status is here to stay or whether she is a
2010, post this their popularity begins to wane. Stars,
transient fashion icon, without the longevity of her royal
such as Jennifer Laurence, Gwyneth Paltrow and Keira
predecessor.
Knightley, are all current fashion icons. Photo galleries such as ‘Bafta bump chic: Keira Knightley’s maternity
T
masterclass’ (Fox, 2015), detailing Knightley’s current
politics. The woman at the forefront of this sea of change
But, unlike their Hollywood counterparts of the 1930s
was not a politician but the wife of the Prime Minister,
and 40s, we haven’t the luxury of time to tell us whether
Samantha Cameron, Britain’s equivalent to America’s
they have changed the fashion landscape through a
first lady. The image of the wife of a statesman is
highly orchestrated look. Which actresses stand out and
3.1.2 Political Elite
48
he year 2010, at the beginning of this study of
pregnancy attire on the red carpet, is evidence of her
British Vogue, was an important one in British
fashion icon status.
Kate Middleton
Samantha Cameron 49
how transient they are can only be determined through a more detailed study of British Vogue. 3.2 The Non-conformists 3.2.1 The Model
T
he right model displays the perfect off-duty model look. Certainly on the front covers of Vogue they
are popular, not necessarily as themselves, but instead styled by Vogue’s team of stylists. There are a few contradictions to this rule, namely Kate Moss and Cara Delevingne. Kate Moss’ lack of transiency as a fashion icon is already well established since she has been a fashion icon for the last two decades. Cara Delevingne is a relative newcomer but has made quite an impact in a short space of time. She has a huge following on her numerous social media accounts, and at the spring/ summer 2015 Paris Fashion Week shows she was, according to Editd, a London-based retail tech firm, the most talked-about model on blogs and twitter channels, capturing 24% of the buzz (Weil, 2014, para 5). A glance at Vogue demonstrates that, as well as in her capacity as a model, Vogue has also chosen to write much about her personally. But can she last as a modern day fashion icon? 3.2.2 The ‘It’ Girl
T
he contemporary ‘It’ girl is much the same as in the past, a part of the industry but often with another
profession, dressed not to enhance what they do but with an innate sense of style of their own, and the ability to influence a generation. Alexa Chung, “style icon of this generation” (Freeman, 2013, para. 7), embodies much of this. She is a presenter, model and contributor to Vogue, who also happens to grace the cover of the magazine between January 2010 and December 2014. Media 50
Alexa Chung
outlets across the board enjoy commenting on her sartorial choices and raising her profile as an ‘It’ girl. 3.2.3 The Eccentric
T
he fashion eccentric is popular amongst the fashion industry, but less well known to anyone
outside fashion. Daphne Guinness is a prime example of a contemporary fashion icon and her style is, according to Steele (2013), a “kind of disinterested, honest love of fashion – which makes her one of the only true fashion icons now” (p.188). Unlike some fashion icons she does not use her style to promote her career, nor is she a professional member of the fashion industry. Thus, it is observed that eccentrics are less likely to stand out amongst the pages of Vogue, as Cara Delevingne or Alexa Chung are likely to do.
Daphne Guinness 51
3.3 Fashion Elite 3.3.1 Fashion Designers
S
ince it is immediately clear that Victoria Beckham features on two front covers over this five-year
study of British Vogue, it would appear that Vogue deems her a fashion icon. In general, designers take more of a backseat, but there are some that, like their predecessors, are recognisable for their sense of style, which then translates seamlessly onto the catwalk, and, with ease, they wear their own designs. Examples include Stella McCartney and Phoebe Philo. How often they appear and whether they can have the longevity, as fashion icons, achieved by their predecessors, must be discovered through a more in-depth content analysis of Vogue. 3.3.2 Fashion Editors
A
nna Wintour has kept much the same ‘look’ as she had at the beginning of her career as editor-
in-chief of American Vogue, making her one of the few recognisable editors to anyone outside of the fashion industry. Vogue editors are arguably the most popular and identifiable editors in the business of fashion publications. Since this is a study of British Vogue, the representation of editors over the other fashion icon categories will probably be lower and thus it could be more difficult to determine how transient those that are deemed fashion icons, are. However, they are most likely to appear on Vogue’s events pages, which display the most fashionably dressed at exclusive and stylish parties. 3.4 The New Breed
T
here are number of contemporary fashion groups that do not have any historical context with which
52
Stella McCartney
to compare them to.
society. They are couture wearers for the modern day, which is the type of content that Vogue is looking for.
3.4.1 Fashion Bloggers
F
ashion bloggers are at odds with print publications. Online and with less training, they are recognised
as a threat to publications like British Vogue. Sherman (2013) thinks, “they are more like editors, creating publications worthy of a million-person audience than a few thousand super-fans” (para. 2). In contrast, Suzy Menkes (2013), Vogue International Editor, calls them “bloggers who dress for attention” (para. 6). Their popularity, however, undoubtedly makes them a strong member of the fashion industry. Sherman (2013) believes that they are “more powerful than ever” (para. 1). Studying Vogue will go some way to understanding how long this interest will last and whether Vogue has embraced them or not. 3.4.2 Reality Stars
R
eality stars epitomise modern media, hard to avoid as they are streamed into our homes through TV
and Internet. Today, many, including the ‘infamous’ Kardashians, are exploiting their popularity through a number of ways, one of these being their flirtation with the fashion industry. For example, Kim Kardashian has her own Lipsy collection and has appeared on the cover of American Vogue. Their fashion icon status is determined by how often their outfits are commented on. It remains to be seen if Vogue will mention them as liberally as other media publications do.
3.4.3 The Russian Pack
F
inally, the Russian pack, a group of Russian exports making waves in the higher echelons of fashion
Kim Kardashian 53
54
CHAPTER 4: BRITISH VOGUE AND THE TRANSIENCY OF CONTEMPORARY FASHION ICONS
55
56
57
4.1 Introduction
lack of credentials and experience, yet their voice has
4.1.1 Contemporary Fashion Icons
never been more authoritative.
C
ontemporary fashion icons are synonymous with that which has gone before. In any female orientated publication, a number of
actresses on the red carpet will adorn the pages. So too will the latest ‘It’ girl, and one particular Royal, the
4.1.2 British Vogue
V
ogue has long been the voice of the fashion industry, as the fashion Bible, some might say,
predicting trends and propelling models, designers and
Duchess of Cambridge, is never far from the pages of a
photographers to an iconic status, as well as harnessing
fashion publication. Amongst others, the royal elite, the
some very stylish and creative employees. First published
‘It’ girls and actresses have long been documented and
in 1892, the British version was first published during
displayed on Vogues’ pages primarily, for their fashion
the middle of the Great War, in 1916. Illustrations were
sense, and secondly, for their personality. With the luxury
the eye-catching accompaniment to words during those
of time, it has become clear who still retains the crown of
early years, but by the 1950’s, each issue was a pleasing
fashion icon and whose style credentials have long been
display of the wonders of photography.
forgotten. Longevity is the key to a fashion icon. But
Today, it is still a stalwart of our industry, against a
alongside these recognisable icons, a number of other,
changing media and digital landscape. Where once it
thoroughly modern icons have emerged. Bloggers,
reigned supreme, many other types of media have since
reality stars, and, identifiable in Vogue, the Russian Pack
appeared to question the print publications longevity.
have all infiltrated a highly regarded industry. Their
One of these is the hotly debated digital blogger. British
styles, all comparatively different, have been noted,
Vogue, however, still retains its ‘Fashion Bible’ status. It
admired and criticised. Bloggers are digital media’s
may not be able to bring fashion news to the masses in an
most famous export, fashion-wise. All of this implies
instant, although it has attempted to bridge this gap with
that the term fashion icon has become oversaturated and
its slick and informative online website (vogue.co.uk),
populated with too many individuals vying for the title.
and it could be argued that it does occasionally fall short
With so much style inspiration on offer, one could be
of appearing totally up to the minute, but nothing beats
forgiven for concluding that, before one fashion icon
repeatedly thumbing through its pages, ripping out outfit
has been established, another is ready to take her place.
inspiration or retaining the magazine as a keepsake.
In combination with a fast-paced and ever-changing
Although it is often said that the print publication is a
media, the statement that the contemporary fashion
dying breed, Vogue still has the credibility and power
icon is more transient than fashion icons in the past,
to create fashion icons. Is the past five years of British
appears to ring true. Reality stars feed the public and
Vogue a clear indicator of current and established
the media daily with mindless daily activities, whilst
fashion icons? Or is it too soon to tell?
little information emanates from their mouths. And the Russian Pack is a product of luxury fashion, power and the influence of money. Much has been made of their 58
4.2 Front Covers
I
n January 2010, English actress Rachel Weisz appears on the front cover of British Vogue. A straight ten
years into the millennia, and fashion blogging has only just begun to make waves in the fashion industry, despite
4.3 The Establishment 4.3.1 Royal Elite
T
he royals are, stylistically, being led into the present by Kate Middleton. She does not give interviews
and speaks publicly only at official engagements. So,
the fact that Susie Lau, of ‘Style Bubble’, had been
although she is arguably one of the most famous living
blogging since 2006. The power of street style is yet to
royal’s, she has never been on the front cover of Vogue.
be fully realised. By December 2014, Kate Moss graces
On the eve of her impending nuptials to Prince William,
the front cover, for the 36th time, and the 8th time over the
however, Vogue produced a commemorative issue,
five years that this study takes place. By now bloggers
focused entirely on wedding fashion, and, for the first
are firmly on the front row of every major fashion show.
time, a multi-edition – three model brides in wedding
The nineties and noughties saw a rise in the number of
dress creations.
actresses adorning the front covers of many magazines,
Alexandra Shulman, as editor-in-chief of Vogue, and
particularly high end fashion publications, such as
Vogue’s fundamental decision maker of ‘what’s hot’
Vogue, superseding the supermodels of the early 90’s.
and ‘what’s not’, sums up the public feeling of why
With them came personality as well as style and beauty,
the Duchess is such a trendsetter. In the May 2011
and the sense that they were more realistic for the reader
issue Shulman states, “her ability to mix high-street
to relate to. 10 years into the millennium and a shift had
with designer fashion… I feel that Catherine has made
already happened. Although Weisz is covering the front
an extremely good start (p. 32). The main article in
of Vogue in 2010, the following five years sees the return
question, ‘A Princes For Our Time’ (p. 152), draws
of the model. Whilst actresses dominate Vogue in 2010,
inevitable comparisons and differences with her mother-
alongside Weisz, Gwyneth Paltrow, Cameron Diaz and
in-law, Princess Diana, the ultimate royal fashion icon
Emma Watson appear, this is no longer the case in 2014,
of the 20th Century. The Duchess of Cambridge is then
and only Rosamund Pike fronts the October 2014 issue.
featured sporadically throughout the following years. Her image is used to accompany features such as
A graph (pp. 60-61) demonstrates how many more
‘The English Woman’, and a feature on Sarah Burton,
models than any other category are featured on the front
creative director of Alexander McQueen, the brand that
cover of British Vogue.
Kate wore for her wedding. In February 2013, Vogue, this time in anticipation of the birth of her first child, publishes a feature entitled ‘Katepedia’ (Armstrong, p. 136), tag line, ‘Inside Kate’s Wardrobe, A Study of a Royal Style’. This feature is far more extensive than the previous one. Now that she has been an official royal for almost two years, there are innumerable outfits to dissect and discuss. Since she must remain mute, her clothes 59
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are what counts, “they’re one of the most effective and
current government. Samantha Cameron is mentioned
instant means of communication” (Armstrong, p. 142),
sporadically, until April 2010 when an interesting
and Vogue is only all too happy to communicate such
comparison is made. “Every designer is just desperate to
taste. As a fashion icon the Duchess of Cambridge is far
dress Britain’s Carla Sarkozy. And they want Samantha
from transient. Her popularity has not been cultivated
Cameron to be her” (Chamberlain, p. 233). Though
through the pages of Vogue and it will not be Vogue that
the wife of a Tory, the party that the creative set, often
is alone in determining her longevity. In fact, for such a
featured in Vogue, are less likely to vote for, Cameron’s
popular fashion icon, Vogue features her sparingly, but
fashionable influence is clear. Like Kate Middleton, her
this is due to the fact that, as a royal with royal duties,
clothes are a powerful tool. Her role at Smythson and
she is not able to fully immerse herself in the world of
as ambassador of British fashion means that she is a
fashion for pleasure. Vogue is not a publication that
fashion favourite. But it should not be forgotten that she
comments on the latest gossip, it is held in higher esteem
is the sister of Vogue’s deputy editor, Emily Sheffield,
than that and, instead, it publishes carefully considered
indicating that a bad word against her style is unlikely to
articles and shoots. Certainly, royal fashion icons are no
be voiced, and branding Vogue with nepotism. Currently,
less transient than they were in the 20th century.
in comparison to Nick Clegg’s wife Miriam Gonzalez and Ed Milliband’s wife Justine Thornton, her style is discussed widely in Vogue. In fact, Thornton appears not
4.3.2 Political Elite
S
amantha Cameron, wife of the current Prime
once. However, much of her ‘fashion icon’ status lies in
Minister,
unless
the fact that she is the wife of the Prime Minister, a role
championing worthy causes or giving speeches in her
that has brought her to the conscience of many people’s
capacity as ambassador for British fashion. This role
minds. How well she will be remembered for her outfit
means that she features frequently in the events pages of
choices is debateable and will likely be in accordance to
Vogue, as ambassador and as a consultant for Smythson.
how her husband is remembered.
Prior to her husband’s appointment as Prime Minister,
This study of Vogue cannot determine whether or not
she was the creative director of the brand.
the political fashion icons of today will be the political
Michelle Obama is another fashion favourite amongst
fashion icons of tomorrow. The political landscape
the pages of Vogue. She too champions American
changes every day and with that, transiency increases.
designers but, as America’s First Lady, style-wise she
However, since Samantha Cameron’s popularity on the
doesn’t triumph over our equivalent first lady on the
pages of British Vogue has not waned for the past five
pages of British Vogue. Had this study been about
years, one is led to understand that her fashion icon
American Vogue, these results are likely to have been
status will be difficult to remove.
remains
similarly
mute,
very different. 2010 is the year when the most politically charged articles appear in Vogue, understandably since this was the year of the general election, which created our 62
4.3.3 Hollywood
A
ctresses are the second most popular models for the front pages of Vogue, but Rachel Weisz is the
63
only actress to appear twice, in January 2010 and July
creates popular icons, rather than fashion icons.
2012. Two things have become clear whilst studying
Since it is not clear who is a fashion icon amongst this
Vogue over a five-year period. Firstly, there is a great
group, Vogue has determined that they are transient,
number of supposedly stylish, on-trend, Hollywood
each month featuring another stylish actress but with
stars to grace the pages of Vogue, but not one who stands
more focus on their career, and only a fleeting interest
out among them all. Secondly, in general, within a few
that they are attractive enough to do a fashion shoot.
paragraphs, what the featured actresses are wearing will be mentioned. For instance, in Vogue’s December 2010 issue Emma Watson’s interview look of “over-the-knee, flat, beige suede boots by Faith, a burgundy sweater by Marc Jacobs, grey tote bag from Chloé, J Brand jeans, a sweep of mascara and chipped grey nail varnish” (Armstrong, p. 236) is already mentioned by paragraph three of an extensive interview. But then little else of their ‘style’ will be subsequently commented on. All of this accompanies a fashion shoot styled by Vogue’s chosen fashion director. The actresses mentioned in Chapter 3 (Jennifer Laurence et al) are all featured on the front cover. But only Helena Bonham Carter, eccentric English actress, has a truly definable style. Her ‘look’ doesn’t dramatically alter to suit the red carpet or what she wears in her private life. The clothes that she wears in the shoot to accompany her interview, in July 2013, may have been sourced and styled by someone else but they are unequivocally Bonham Carter. Fashion icons of the golden era of Hollywood all had a controlled look, both off-screen and on, lines often blurred between the two. Actresses, today, take on diverse roles so their ‘look’ changes with each film. Furthermore, there is less control in their private lives than had been the case in the past. Though not featured in Vogue, many media outlets will display images of a polished star on the red carpet next to an image of them the next day, creating a stark contrast. Instead Hollywood 64
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4.4 The Non-conformists
‘She’s Got IT’, is in depth. It discusses her career, as
4.4.1 The ‘It’ girl
T
other interviews would do, but because her career is so
his study of Vogue makes it very clear that as
intrinsically linked to her style, it tries to make sense of
much as the fashion world loves a model, the love
the phenomenon that is Alexa Chung. Vogue describes
of an ‘It’ girl is just as potent. Alexa Chung is presenter,
her as “hipster, muse, rock chick, TV presenter, writer,
writer, model, and all-round ‘It’ girl. The epitome of
designer, pop culture phenomenon” (D’Souza, p.
the zeitgeist in fashion today and only pipped to the top
149), purporting her to “have inspired a generation of
post by Kate Moss. Although Vogue quotes The New
tomboys, and countless fashion designers” (D’Souza, p.
York Times, calling Chung the “Kate Moss for this new
147). Pixie Geldof, another ‘It’ fashion girl often seen
generation” (D’Souza, 2011, p. 149). Chung is unique
on the pages of Vogue, but predominantly at events
amongst the fashion pages of Vogue for her constant
and as the occasional model, believes that Chung’s
presence, not just for her fame and for her extremely
popularity lies in the fact that “girls aren’t threatened
good sense of style, but for what she has to say, for her
by her” (D’Souza, p. 153). Although Vogue states that
interview techniques and her opinions on fashion. She
she’s influenced a generation, much like past fashion
is simultaneously coveted by the staff at Vogue and is
icons have, the publication still ponders the question
one of them.
“how does one make the move from It-dom into a career
She has featured on three covers from 2010; March
with longevity?” (D’Souza, p. 200). Vogue’s constant
2010, June 2011 and, most recently, October 2013. The
association with her appears to answer this. Chung is
October 2013 issue saw her reporting from the couture
able to move with ease between a strong career as a
shows, alongside modelling the sumptuous gowns.
writer and one as a fashion icon and trendsetter. Through
Whilst other Vogue writers may test products in the name
the eyes of Vogue, Chung, the ultimate 21st century ‘It’
of journalism, it is unheard of for them to be styled in
girl, is far from transient as a fashion icon, her popularity
the garments that they write about. But Alexa is unique.
never waning.
She is that ‘fashion darling’ that comes around just once in a ‘blue moon’, whose style is just so together without being predictably boring and who has the personality and intelligence to match. And in her, Vogue appears to have what fashion is always searching for, and all-round
4.4.2 The Eccentric
W
hilst Vogue propels ‘It’ girls onto its pages every month, it neglects a stalwart of fashion,
the eccentric. Marchesa Luisa Casati dominated the
‘It’ girl, with a style that screams originality.
first half of the 20th century and Isabella Blow went on
Alexa has the ability to be everything that fashion
to dominate the later stages of this century, until her
needs and on the pages of Vogue this translates into
untimely death in 2007. Her contemporary and friend
‘clotheshorse’ and writer. On her March 2010 cover and
was Daphne Guinness, a dynastic fashion icon, eccentric
in her article she models denim. No interview necessary,
and lover of couture. Although populated on the event
those in fashion circles and beyond know her. The
pages, eccentrics, including Guinness, have featured
interview to accompany her June 2011 cover, aptly titled
rarely over this five-year study of Vogue. Guinness is
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featured at a few events and is one of the subjects of an
Delevingne from Moss, are the articles that appear with
article titled ‘Fashion Families’ (Sinclair, 2011, p. 128).
her first two covers, March 2013 and January 2014.
Whilst Anna Piaggi is only mentioned once, in a tribute
Where most models’ front cover accompanies only a
to her at the announcement of her death. In the words of
fashion shoot of clothes chosen for them, Delevingne, as
Karl Lagerfeld (2012) “there is no imitating Anna” (p.
the rising star that Vogue is more than happy to cultivate,
161). This one page tribute, however, demonstrates the
is interviewed for her first cover and feature, whilst her
respect given to eccentrics by the fashion industry. But
second cover and feature consists of various facts and
Vogue is a commentator on the fashion of the time, and
statistics. By her third cover, just eighteen months since
on who and what is setting trends. Eccentrics will never
her first, she’s achieved the covetable September issue.
be trendsetters, influencing the Vogue reader; instead
No interview necessary. Indicative of her status as a top
they are influences of high fashion and spectacles to
model are which issues she covers. Starting with March,
admire. This does not diminish their fashion icon status
when the spring/summer trends are first noted, and
in the eyes of Vogue. However, their lack of appearance
finally with September, the autumn/winter collections.
in Vogue does not confirm their transient nature in
But what of Delevingne’s status as a fashion icon? In
today’s society. It simply demonstrates that eccentrics,
the issue of March 2013, Emily Sheffield describes her
like Guinness, are above and beyond the style pages of
as having an ‘aura of natural cool’ (p. 294). Her feature
Vogue, not in need of approval and always going against
in January 2014 is aptly titled ‘The Face’ and she is
the fashion grain in a style of their own extravagant
described by Donna Karan (Delevingne modelled for
choosing.
DKNY, a quintessentially New York brand) as “totally fearless in her unique sense of style” (Henderson, p. 146).
A
She certainly has a ‘key look’ – jeans, baseball jacket,
they don’t necessarily set the trends, but follow them.
in teenagers and on the High Street. As Alexandra
They are cautious in the knowledge that the wrong
Shulman, editor-in-chief of British Vogue explains in the
model can be detrimental to sales despite the shoot being
May 2014 issue, “a model with a successful lifespan has
excellent and all other features being strong.
to have her own sense of style” (p. 195). This is true of
Kate Moss is a firm favourite, a clear fashion icon, already
Kate Moss, and of one of Delevingne’s contemporaries,
well established, whose longevity is obvious especially
the highly in demand model Edie Campbell. Like
since Vogue featured her a prizewinning eight times
Delevingne, she is young, quirky (her black mullet
during the course of this study. Cara Delevingne, the
hairstyle is instantly recognisable) and she has appeared
heir apparent to Kate Moss’ title and status of top model,
in countless advertisements, including a Burberry advert,
has already featured three times, the first as recently
“a brand that, under Christopher Bailey, has propelled
as March 2013. Clearly, Vogue is keen to generate the
many an unknown Brit to stardom” (Fox, 2014, p. 191),
myth of her as the next Kate Moss, but what separates
alongside Cara Delevingne. In the September 2014 issue
4.4.3 The Model
70
front cover can only be justified if the team at
wool beanie and hoodie. It’s conventional and not at all
Vogue thinks it will create high sale figures. Here,
groundbreaking, but it has spawned a thousand imitations
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of Vogue there were at least ten advertisements featuring either of these models. Adverts aren’t a direct reflection of Vogue’s taste, but the saturation of Delevingne and Campbell in advertisements, in editorials and on the
4.5 Fashion Elite
T
he fashion elite’s status as fashion icons is hard to conclude through the pages of Vogue. Firstly,
the fashion editors are behind the camera, rather than in
trend and events pages that penetrate the pages of Vogue,
front, writing the articles, not being the subject of them.
demonstrates their continued popularity.
Secondly, the designer garments, not the designers, are
As for Cara’s longevity as a model and fashion icon,
more often displayed in front of a camera. The luxury
Vogue stated at the beginning of 2013 that 2012 had
of time means that much has been written about past
been Cara’s year and that it looked likely that 2013
fashion editors, such as Diana Vreeland, and endless
would be (Sheffield, 2013, p. 302). 2015 is shaping up
books have been published on designers, like the
to be her year too. Much of the same can be said for
indomitable Coco Chanel and Elsa Schiaparelli. Thus
Edie Campbell. But when studying the statement that
their status as fashion icons is cemented by reputation
contemporary fashion icons, in this case models, are
and time.
more transient than icons of the past through the pages of Vogue, this is harder to conclude. Certainly they are the most popular models in Vogue, with a distinct style and personality to match, but, overridingly, the editorials and advertisements that they both feature in surpass their
4.5.1 Fashion Editors
M
ore often than not stylish fashion editors are pictured at the events associated with the
twice-yearly fashion weeks. But two individuals stand
own personal style, which is evident in the street shots
out more than most. Giovanna Battaglia, contributing
and events that they attend and which are documented in
fashion editor at W Magazine and senior fashion editor
Vogue. They are both young and relatively new to their
at Vogue Japan, and Anna Dello Russo, editor-at-large
careers, and the term ‘fashion icon’ sounds a little too
for Vogue Japan. They both appear frequently in Vogue,
mature as a description for them at this time.
consistently appearing on its events and trend pages. For instance, whilst Dello Russo was spotted at fashion events consistently throughout this five-year study, Battaglia was especially prevalent in 2011, when she was spotted a total of eight times on British Vogue’s pages. Emmanuelle Alt, editor of French Vogue, is the only fashion editor interviewed in Vogue over this five-year period. Like Battaglia and Dello Russo, she regularly appears on Vogue’s events and trend pages but her interview, in the July 2014 issue, delves further into her Parisienne attire, rather than her profession, explaining that ”her androgynous, sexy, rock ‘n’ roll sensibility
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reverberates in every ‘creative’ office in town” (Ellison,
Vogue’s pages, it is hard to discern whether Vogue is
p. 145). And top model Daria Werbowy believes “she’s
stating that they are more transient than fashion icons in
really nails the modern woman look. It’s very effortless”
the past. On the one hand, how Victoria Beckham was
(Ellison, p. 145).
once perceived style-wise is a far cry from the positive
Anna Wintour is arguably Vogue’s most famous and
reception she gets today, demonstrating how easily the
most recognisable editor-in-chief, with her blow-dried
media, including Vogue, can change its mind about
bob, sunglasses and Manolo Blahnik slingbacks, but
someone. And, yet, there is nobody else, with as much
she features infrequently in British Vogue. As American
coverage, to compare her to. This is the perfect example
Vogues editor, distance will mean that she is not at many
where the luxury of time will tell which fashion designers
of the same events displayed on Vogue’s British pages.
have been awarded fashion icon status and sustained it.
Neither will her discernable style inform trend after trend. Vogue is, thus, an unreliable source to determine the fashion icons amongst fashion editors, and how transient these may be. 4.5.2 Fashion Designers
F
ashion designers, predominantly male designers, are, generally, featured in smaller articles.
However, Victoria Beckham’s status is so in ascendance that during the course of this study, she appears on the cover twice. Whilst much is discussed of her modern style and Vogue believing “she has come of age stylistically” (Sheffield, 2014, p. 128), the focus is still very much on her tightly controlled, ‘perfect’ life. Other female designers deemed stylish, Phoebe Philo for instance, lead far quieter private lives and thus the attention in interviews is usually purely based on their designs. With Beckham, however, you have the whole package, fashion designer, perfect family, perfect body and fashion icon. Only Stella McCartney comes close to appealing to the media’s thirst for more knowledge about individual’s private lives. Because so little is written about fashion designers, in comparison to other categories of fashion icons on 76
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4.6 The New Breed
a writer for her online fashion magazine, Style Rookie.
4.6.1 Fashion Bloggers
Instead, Vogue is concerned with the transition she is
I
t could be argued that fashion editors are part of the
making into acting. If there was ever a clear indicator
old guard and that fashion bloggers are a part of
of Vogue’s feelings towards bloggers, then this is it.
the new guard. The first mention of fashion blogging,
In fact, Emmanuelle Alt voices her opinion just a few
in July 2010, covers an entire double page, more than
months earlier by stating that she’s “slightly repulsed by
expected when one considers the distrust of bloggers
the phenomenon of the fashion blogger” (Ellison, 2014,
felt by so many print publications. Whilst this sizeable
p. 145). So all this begs the question that are fashion
feature, about Susie Lau of ‘Style Bubble’ sharing her
bloggers modern-day fashion icons if a staple of the
closet secrets, promises an acceptance of blogging, the
fashion industry, Vogue, does not support them? And if
following months give way to fashion bloggers being
they are, are they transient?
featured only in ‘Miss V’, Vogue’s events section, or in
Firstly, they appear on Vogue’s trend pages consistently
‘In Vogue’, part of Vogue’s trend pages. The August 2011
more than any other category in this study. Secondly,
issue features a shoot entitled ‘Style Hunter’, inspired by
with no history to compare their perception in the past,
front-row bloggers. It is subtle in its appreciation, but it
determining their transience becomes harder. Taking
is only Charlotte Pilcher’s word’s in ‘This Month Vogue
into consideration that two fashion bloggers, Susie Lau
Notices’, “it amuses me that fashion shows have slightly
and Bip Ling, in particular, featured heavily, then one
taken a backseat. It’s all about the bloggers outside
could conclude that they are not transient. However,
busting a look” (2011, p. 46), that indicates an element
through the eyes of Vogue, they don’t appear to be
of mockery. In February 2012, another shoot, ‘I am a
deemed worthy of fashion icon status in the first place.
Camera’, is inspired by fashion bloggers. This one does come across as mocking their ‘peacock sensibilities’ and indicates that they are as stylish and as extravagant as fashion insiders but without the credibility. By 2013, they appear far more infrequently, mainly as street shots
4.6.2 The Russian Pack
S
imilarly, the Russian Pack, a set of four highly influential Russian creative’s, Elena Perminova,
Ulyana
Sergeenko,
Miroslava
Duma
and
Vika
from the fashion weeks and regularly not captioned
Gazinskaya, have no precedent to determine if they are
with their name. And yet, digitally, they still remain as
transient or not. They make their first solid appearance
influential as ever. It is not until the October 2014 issue
in April 2012, in ‘Beat On The Street’. They, like fashion
of Vogue, when Alex Chung is assigned to interview
bloggers, appear reliably on Vogue’s trend pages and
Tavi Gevinson, child fashion blogger, now young
at events, and are photographed repeatedly outside the
adult, that a full-length feature about a fashion blogger
fashion shows, arguably a by-product of what fashion
appears. It speaks volumes. A considerable amount is
bloggers are most interested in. This association with
written about her style and how it has evolved since her
bloggers does them no harm. By Vogue’s standards, they
first foray into fashion, but the focus of this interview is
have the wealth and fashion acumen to be treated with
not to primarily to discuss her work as a blogger or as
respect. Furthermore, one of them is occasionally given
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81
a small interview space on Vogue’s pages. For instance,
fashion icons are more transient than fashion icons of
Miroslava Duma reveals her hectic day in Moscow,
the past.’
including changes of outfit (p. 227), to Sarah Harris in the March 2014 issue. 4.6.3 Reality Stars
O
ver the whole five-year study only two instances of a reality star being featured were noted. Firstly,
Paris Hilton in ‘Starry Nights’ (December 2010, p. 255) was a look at archived images of famous parties, not a look at Hilton’s style. Hilton’s reality star status has descended considerably over the years, therefore a feature on ‘archived’ images is quite appropriate. Secondly, Amy Childs, of The Only Way is Essex fame. A portrait of her by Ben Weller (2011, p. 317) is somewhat au natural for her usual ‘glam’ look. It is positioned alongside an article, not about her, but about ‘The Essex Girl’ (Coren, 2011, p. 316) in a series called ‘English Woman’. No reference is made to her ‘style’ and the styling of her in the photograph is noticeably toned down. In a similar vein, the WAG is highlighted twice, in January 2010 and July 2010, before disappearing from the pages of Vogue for good. January 2010’s feature, ‘Alex Goes East’, is of Alex Gerrard, Steven Gerrard’s wife, as Vogue attempts to change her quintessentially Liverpudlian look. She, and other WAG’s, are, therefore, not fashion icons and never were, in the eyes of British Vogue. Ultimately, however, there is a key difference between reality stars and icons. Reality star’s notoriety is over and above the sum of any talent they may possess. With this in mind they are not fashion icons, with little reason for Vogue to feature them, and, therefore, there is no need to prove or disprove the statement ‘contemporary 82
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CHAPTER 5: CONCLUSION
84
Having embarked upon this study it has become obvious
Fashion bloggers are not featured in Vogue as much as
that, although a publication with Vogue’s high status
they deserve, given that they are popular, thriving, up
credentials can strongly influence the creation of a
to the minute fashion professionals. Vogue, as a print
fashion icon, helping her establish herself and flourish
publication, feels threatened by fashion bloggers, and
in the eyes of the public, it would require a much longer
since they are not well represented it is hard to judge
study, comprising of many other media publications, to
their transiency. Whilst they might be considered
ascertain the transiency of any fashion icon. A five-year
fashion icons by other media outlets, Vogue appears to
study can only tell us which icons appear to be thriving
ignore their status in the fashion industry.
and their careers and reputations gaining momentum.
So many Hollywood actresses populate the pages of
Vogue strongly supports some of the individuals in the
Vogue, but not one stands out amongst them all. This
categories.
oversaturation ascertains that no Hollywood actress is
The Models, i.e. Cara Delevingne, Edie Campbell and
currently a fashion icon and so no conclusion as to their
Kate Moss, and the ‘It’ Girls, i.e. Alexa Chung, all
transiency has to be drawn.
appear regularly, maintaining their status and increasing
Fashion Designers and Fashion Editors are part of the
their profile. This constant coverage keeps them in the
fabric and history of Vogue. They are referred to but only
public eye and increases their longevity in the public
sporadically. However, their close association with the
consciousness. Thus, they disprove the statement that
fashion industry and with Vogue will ensure longevity
contemporary fashion icons are more transient than
for those who are entitled to the status of fashion icon.
fashion icons of the past.
Finally, The Russian Pack, a category that appears unique
Individuals from the Royal Elite and Political Elite
to the pages of Vogue. There is no historical context to
are equally referred to in Vogue. Both groups have
draw on, but since they are still steadily appearing in
predecessors with longevity as style icons. Vogue only
British Vogue it can be deduced that, up to this point,
features the outstanding members of these categories
they are not transient as fashion icons.
and, even though this is a short study, it is possible to
In conclusion, although much can be learnt about
deduce that their fashion icon status is neither currently
fashion, history, style and personalities in this study of
transient nor will it be.
British Vogue, it cannot draw accurate conclusions on
Other categories are much harder to gauge within a five-
the transiency or not of contemporary fashion icons.
year study since some will acquire and maintain iconic status without Vogue. Eccentrics are the prime example
Further Research
of this. They are rarely referred to but since eccentrics
This study would benefit from the use of other media
do not dress as they do in order to gain media attention
publications, both print and online. Determining how
or enhance a career, nor are they a professional member
transient a contemporary fashion icon is through the
of the fashion industry, they sustain their fashion icon
pages of just one publication does not give the reader
status with or without coverage in Vogue, so here the
the whole picture. A wider source of media would give a
study cannot draw to a conclusion.
greater understanding of this topic. 85
REFERENCE LIST Chapter 2: Historical Context Blow, D. (2010). Blow by Blow. London: Harper Collins. Buttolph, A. (2008). Inside the world’s most famous wardrobe Kate Moss style. London: Century. Buxbaum, G. (Ed.). (2005). Icons of fashion the 20th century. Munich, Berlin, London, New York: Prestel. Doonan, S. (2011). What Is a Fashion Icon? Retrieved from http://www.slate.com/articles/life/doonan/2011/11/ fashion_icons_the_seven_kinds_.html Jaeger, A. (2009). Fashion makers fashion shapers. London: Thames & Hudson. Lillethun, A., & Welters, L. (Eds.). (2007). The Fashion Reader. New York: Berg. Müller, F. (2008). Fashion game book a world history of 20th century fashion. New York: Assouline Publishing. Reed, P. (2012). Fifty fashion looks that changed the 1950s. London: Octopus Publishing Group. Reed, P. (2013). Fifty fashion looks that changed the 1980s. London: Octopus Publishing Group. Sinclair, C. (2010). The History of the Supermodel. Vogue, 118-128 Steele, V. (Ed.). (2010). The berg companion to fashion. New York: Berg. Trebay, G. (2007). Isabella Blow, Flamboyant Discoverer of Fashion Talent, Dies at 48. Retrieved from http:// www.nytimes.com/2007/05/08/world/europe/08blow.html Werle, S. (2009). Fashionista a century of style icons. Munich, Berlin, London, New York: Prestel. Worsley, H. (2011). 100 ideas that changed fashion. London: Laurence King Publishing Ltd.
Chapter 3: Identifying Contemporary Fashion Icons Bailey, F. (2011).Kate Middleton: A boost for British fashion?. Retrieved from http://www.bbc.co.uk/news/entertainment-arts-13065219 Derrick, R., & Muir, R. (Eds.). (2007). Vogue covers on fashion’s front page. London: Little, Brown. Fox, I. (2015). Bafta bump chic: Keira Knightley’s maternity masterclass. Retrieved from http://www.theguardian. com/fashion/gallery/2015/feb/06/bafta-bump-chic-keira-knightleys-maternity-masterclass Freeman, H. (2013). Alexa Chung: ‘I don’t know whether to be open and vulnerable’. Retrieved from http://www. theguardian.com/fashion/2013/sep/21/alexa-chung-interview Khan, F. (Producer), & Coughlin, B. (Director). (2014). Episode One [Television series episode]. In D. Horan & J. Smith (Executive Producers), Posh People: Inside Tatler. London: BBC2 Menkes, S. (2013, February 10). The Circus of Fashion. [Web log post]. Retrieved from http://tmagazine.blogs. nytimes.com/2013/02/10/the-circus-of-fashion/?_r=0 86
Sherman, S. (2013, January 23). The Most Influential Personal Style Bloggers Right Now. [Web log post]. Retrieved from http://fashionista.com/2013/01/influential-fashion-style-bloggers-2013 Steele, V. (Ed.). (2010). The berg companion to fashion. New York: Berg. Weil, J. (2014). Cara Delevingne’s Social Media Cadre. Retrieved from http://www.wwd.com/fashion-news/fashion-scoops/cara-delevingnes-social-media-cadre-8036698
Chapter 4: British Vogue and the Transiency of Contemporary Fashion Icons Armstrong, L. (2010). Mega Watson. Vogue, 234-245, 305 Armstrong, L. (2013). Katepedia. Vogue, 136-143 Chamberlain, V. (2010). Party People. Vogue, 232-235, 260 Chung, A. (2014). Rookie Street. Vogue, 324-331 Coren, G. (2011). The Essex Girl: Amy Childs. Vogue, 316-317 D’Souza, C. (2010). Alex Goes East. Vogue, 126-133 D’Souza, C. (2011). She’s Got It. Vogue, 146-153, 200 Ellison, J. (2014). Control Alt. Vogue, 142-145 Farrell, A. (2010). Coming of Age: Susie Lau 20s. Vogue, 134-135 Fox, C. (2013). Her Roaring Forties. Vogue, 100-111, 198 Fox, C. (2014). The Great British Model. Vogue, 188-195 Harris, S. (2014). Russian Dressing. Vogue, 227, 229-230 Henderson, V. (2014). The Face. Vogue, 144-155 Lagerfeld, K. (2012). Anna Piaggi. Vogue, 161 Pilcher, C. (2011). Blogger’s Delight. Vogue, 46 Sheffield, E. (2011). A Princess of Our Time. Vogue, 152-157, 238 Sheffield, E. (2012). Beat on the Street: Elena Perminova, Ulyana Sergeenko, Miroslava Duma and Vika Gazingskaya, the Russian Pack. Vogue, 278-279 Sheffield, E. (2013). Chasing Cara. Vogue, 294-303 Sheffield, E. (2014). Victoria’s Era. Vogue, 124-141, 195 Sinclair, C. (2011). Fashion Families. Vogue, 128-137
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IMAGE REFERENCE LIST Front Cover: Alexa Chung. (2013). A Portrait of Alexa Chung. [Photograph]. Retrieved from http://www. vogue.co.uk/news/2013/07/16/alexa-chung-launches-mytheresacoms-portrait--interview-series
Page 4: Cara Delevingne. (2013). Milan Fashion Week Street Style. [Photograph]. Retrieved from http://
www.popsugar.com/fashion/Milan-Fashion-Week-Street-Style-Spring-2013-25058295#photo-25058295 Page 6: Kate Moss. (2014). 40 Never Looked Better! [Photograph]. Retrieved from https://bowandpearl. wordpress.com/tag/dress/
Chapter 2: Historical Context Page 20: Queen Alexandra. (2010). 1902 Queen Alexandra’s Coronation dress. [Photograph]. Retrieved from http://www.gogmsite.net/the-bustle-eras-1870-1890/queen-alexandra/1902-alexandra-coronation-d. html
Page 23: Wallis Simpson. (2011). Wallis Simpson – Style File. [Photograph]. Retrieved from http://www. vogue.co.uk/spy/celebrity-photos/2011/09/08/wallis-simpson---style-file
Page 24: Princess Diana. (2013). Maggie – one of a few notable female icons of our age. [Photograph]. Retrieved from https://everyentranceisanexit.wordpress.com/2013/04/
Page 26: Marlene Dietrich. (2013). Style in Film: Marlene Dietrich in ‘Morocco’. [Photograph]. Retrieved from http://classiq.me/style-in-film-marlene-dietrich-in-morocco
Page 27: Katherine Hepburn. (2012). From androgynous trousers with a 20-inch waist to showstopping goddess gowns, Katharine Hepburn’s style celebrated in new exhibition. [Photograph]. Retrieved from http://
www.dailymail.co.uk/femail/article-2219667/From-androgynous-trousers-20-inch-waist-showstoppinggoddess-gowns-Katharine-Hepburns-style-celebrated-new-exhibition.html
Page 29: Audrey Hepburn. (2013). The woman with a signature look; Audrey Hepburn. [Photograph]. Retrieved from https://stylereporters.wordpress.com/
Page 30: Marilyn Monroe. (2012). Marilyn Monroe. [Photograph]. Retrieved from https://lasdivinas1.wordpress.com/2012/02/19/marilyn-monroe/
Page 31: Jacqueline Kennedy. (2014). Why Jackie Kennedy Is Still a Style Icon. [Photograph]. Retrieved from http://www.popsugar.com/fashion/Jackie-Kennedy-Onassis-Style-Pictures-35351281#photo-35351281
Page 32: Marchesa Luisa Casati. (2012). Marchesa Luisa Casati. [Photograph]. Retrieved from http://swingingtiramisu.blogspot.co.uk/2012/08/marchesa-luisa-casati.html
Page 33: Isabella Blow. (2013). Isabella Blow: Fashion Galore. [Photograph]. Retrieved from http://ftape. com/media/?p=62390
Page 35: Jane Birkin. (2013). Jane Birkin and History of the Birkin Bag. [Photograph]. Retrieved from http:// 88
www.thefashioneldiary.com/jane-birkin-and-history-of-the-birkin-bag/
Page 36: Edie Sedgwick. (2014). Inspiration: Edie Sedgwick. [Photograph]. Retrieved from http://trini-g. com/edie-sedgwick/
Page 37: Bianca Jagger. (2014). Throwback Thursday: The most iconic celebrity weddings. [Photograph].
Retrieved from http://kissthebride.biz/general-news/throwback-thursday-the-most-iconic-celebrity-weddings.html
Page 39: Twiggy. (2015). Twiggy is L’Oréal’s new Ambassador. [Photograph]. Retrieved from http://dailynewsservice.co.uk/lifestyle/beauty/item/3626-twiggy-is-l-oreal-s-new-ambassador
Page 40: Mary Quant. (2012). 1960s Fashion: Mini-Skirts, Twiggy And Mod. [Photograph]. Retrieved from http://www.mydaily.co.uk/2012/05/10/1960s-fashion-mini-skirts-twiggy-mods/
Page 41: Chanel. (2015). Coco Chanel Inspiration. [Photograph]. Retrieved from http://www.dianacloudlet. com/2015/02/coco-chanel-inspiration.html
Page 43: Diana Vreeland. (2013). Vogue Editor, Diana Vreeland’s Wardrobe up for Auction. [Photograph].
Retrieved from http://arabia.style.com/fashion/news/vogue-editor-diana-vreelands-wardrobe-up-forauction/
Chapter 3: Identifying Contemporary Fashion Icons Page 47: Kate Middleton. (2014). Happy Birthday Kate Middleton! [Photograph]. Retrieved from http://fussstyle.com/happy-birthday-kate-middleton/
Page 47: Samantha Cameron. (2011). The Perfect 10: Samantha Cameron. [Photograph]. Retrieved from http://www.mydaily.co.uk/2011/04/18/samantha-cameron-pictures/
Page 48: Alexa Chung. (2015). Style Icon Deconstructed – Alexa Chung. [Photograph]. Retrieved from http:// fashionroadtest.com/style-icon-deconstructed-alexa-chung/
Page 49: Daphne Guinness. (2013). Daphne Guinness. [Photograph]. Retrieved from http://www.vogue. co.uk/person/daphne-guinness
Page 50: Stella McCartney. (2012). Stella McCartney in the ‘Millie’ Dress. [Photograph]. Retrieved from http://uk.glam.com/stella-mccartney-in-the-millie-dress/
Page 51: Kim Kardashian. (2013). Kim Kardashian’s Post-Baby Body Style. [Photograph]. Retrieved from http://www.usmagazine.com/celebrity-style/pictures/kim-kardashians-post-baby-bodystyle-2013309/33930
Chapter 4: British Vogue and the Transiency of Contemporary Fashion Icons Page 56: Craig, T. (2010). Rachel Weisz in the new colours of the season. [Photograph]. Vogue, 1 Page 57: Testino, M. (2014). Kate’s World. [Photograph]. Vogue, 1
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Page 63: Testino, M. (2011). True Romance The Royal Wedding in Vogue. [Photograph]. Vogue, 1
Page 65: Alas, M. & Piggott M. (2013). Helena Bonham Carter A style original. [Photograph]. Vogue, 1 Page 67: McLellan, A. (2010). Alexa Chung Fashion’s Favourite Girl. [Photograph]. Vogue, 1 Page 68: Olins, J. (2011). What is it about Alexa Chung. [Photograph]. Vogue, 1
Page 69: Demarchelier, P. (2013). Alexa Chung’s couture adventure. [Photograph]. Vogue, 1 Page 71: Testino, M. (2013). Model of the year Cara Delevingne. [Photograph]. Vogue, 1
Page 72: McLellan, A. (2014). Cara The model who was liked into superstardom. [Photograph]. Vogue, 1 Page 73: Testino, M. (2014). The Big Fashion Issue. [Photograph]. Vogue, 1 Page 75: Rahlwes, K. (2014). Control Alt. [Photograph]. Vogue, 142-145
Page 77: Demarchelier, P. (2014). Inside the world of Victoria Beckham. [Photograph]. Vogue, 1 Page 79: Bell, J. (2010). Coming of Age: Susie Lau 20s. [Photograph]. Vogue, 134-135 Page 80: Pennetta, A. (2014). Rookie Street. [Photograph]. Vogue, 324-331
Page 81: Houghton, M. (2012). Beat on the Street: Elena Perminova, Ulyana Sergeenko, Miroslava Duma and Vika Gazingskaya, the Russian Pack. [Photograph]. Vogue, 278-279
Page 83: Weller, B. (2011). The Essex Girl: Amy Childs. [Photograph]. Vogue, 316-317 Back Cover
Kate Middleton’s Wedding Dress. (2011). Sarah Burton for Alexander McQueen designs Kate’s royal wedding
dress. [Photograph]. Retrieved from http://www.sheknows.com/beauty-and-style/articles/829715/sarahburton-for-alexander-mcqueen-designs-royal-wedding-dress
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BIBLIOGRAPHY BOOKS
Barnard, M. (2002). Fashion as communication (4th ed.). Oxon: Routledge. Blow, D. (2010). Blow by Blow. London: Harper Collins. Buttolph, A. (2008). Inside the world’s most famous wardrobe Kate Moss style. London: Century. Buxbaum, G. (Ed.). (2005). Icons of fashion the 20th century. Munich, Berlin, London, New York: Prestel. De La Haye, A., & Mendes, V. (2010). Fashion since 1900. London: Thames & Hudson. Derrick, R., & Muir, R. (Eds.). (2007). Vogue covers on fashion’s front page. London: Little, Brown. Derrick, R., & Muir, R. (Eds.). (2002). Unseen Vogue the secret history of fashion photography. London: Little, Brown. Edkins, D., & Tapert, A. (2005). The power of style. New York: Watson-Guptill. English, B. (2007). A cultural history of fashion in the twentieth century: from the catwalk to the sidewalk. London: Berg Publishers. Hansford, A. (2011). Dressing Marilyn. London: Goodman Books. Jaeger, A. (2009). Fashion makers fashion shapers. London: Thames & Hudson. Jone, T. (Ed.). (2005). Fashion now. London & Cologne: Taschen. Kedves, J. (2013). Talk fashion. Munich: Prestel. Lillethun, A., & Welters, L. (Eds.). (2007). The Fashion Reader. New York: Berg. Müller, F. (2008). Fashion game book a world history of 20th century fashion. New York: Assouline Publishing. Picardie, J. (2011). Coco Chanel The Legend and The Life. London: Harper Collins. Reed, P. (2012). Fifty fashion looks that changed the 1950s. London: Octopus Publishing Group. Reed, P. (2013). Fifty fashion looks that changed the 1980s. London: Octopus Publishing Group. Scheips, C. (2007). American fashion: council of fashion designers of America. New York: Assouline Publishing. Schwaab, C. (2010). Talk about fashion. Paris: Flammarion. Steele, V. (Ed.). (2010). The berg companion to fashion. New York: Berg. Werle, S. (2009). Fashionista a century of style icons. Munich, Berlin, London, New York: Prestel. Werle, S. (2010). Fashionisto a century of style icons. Munich, Berlin, London, New York: Prestel. Worsely, H. (2011). 100 ideas that changed fashion. London: Laurence King Publishing Ltd.
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WEBSITES/BLOGS/TV PROGRAMMES Bailey, F. (2011).Kate Middleton: A boost for British fashion?. Retrieved from http://www.bbc.co.uk/news/entertainment-arts-13065219 Blume, L. (2010, October 28). ICONS OF STYLE SERIES: The Marchesa Casati, High Priestess Of Eccentricity & Designer Muse. [Web log post]. Retrieved from http://www.huffingtonpost.com/lesley-m-m-blume/marchesacasati-photos-lets-bring-back_b_774995.html Day, R. (2014, December 13). The Definition of Style. [Web log post]. Retrieved from http://www.manrepeller. com/2014/12/define-style.html Doonan, S. (2011). What Is a Fashion Icon? Retrieved from http://www.slate.com/articles/life/doonan/2011/11/ fashion_icons_the_seven_kinds_.html Finnigan, K. (2013). Top 10 Fashion Eccentrics. Retrieved from http://fashion.telegraph.co.uk/article/ TMG10436263/Top-10-fashion-eccentrics.html Fox, I. (2015). Bafta bump chic: Keira Knightley’s maternity masterclass. Retrieved from http://www.theguardian. com/fashion/gallery/2015/feb/06/bafta-bump-chic-keira-knightleys-maternity-masterclass Freeman, H. (2013). Alexa Chung: ‘I don’t know whether to be open and vulnerable’. Retrieved from http://www. theguardian.com/fashion/2013/sep/21/alexa-chung-interview Friedman, V. (2014). Beyoncé, a Legend of Rock, but Not Fashion. Retrieved from http://www.nytimes. com/2014/07/31/fashion/beyonce-discounts-the-fashion-icon.html?ref=fashion&_r=1 Khan, F. (Producer), & Coughlin, B. (Director). (2014). Episode One [Television series episode]. In D. Horan & J. Smith (Executive Producers), Posh People: Inside Tatler. London: BBC2 Livesay, B. (2012, March 26). Women’s History Month Timeless Style Icons. [Web log post]. Retrieved from http://madewomanmag.com/style/item/275-timeless-style-icons Madsen, A. C. (2014). The Rise of the It-Model: Fashion’s New Super Fame. Retrieved from http://i-d.vice.com/ en_gb/article/the-rise-of-the-it-model-fashions-new-super-fame Medine, L. (2015, January 12). Style at The Golden Globes. [Web log post]. Retrieved from http://www.manrepeller.com/minor_cogitations/style-at-the-golden-globes.html Menkes, S. (2013, February 10). The Circus of Fashion. [Web log post]. Retrieved from http://tmagazine.blogs. nytimes.com/2013/02/10/the-circus-of-fashion/?_r=0 Milligan, L. (2015). Why The Supermodels Existed, By Cindy. Retrieved from http://www.vogue.co.uk/ news/2015/01/15/cindy-crawford-on-supermodels-and-george-clooney-and-amal?utm_medium=Email&utm_ source=Editorial-VogueDailyNews&utm_campaign=141656821&utm_source=Adestra&utm_ medium=email&utm_campaign=Vogue%20Daily%20News%20-%2015%2F01%2F2014 92
Persad, M. (2013). 1920s Fashion: Coco Chanel, Marlene Dietrich And More Style Icons Of The Era. Retrieved from http://www.huffingtonpost.com/2013/05/20/1920s-fashion-coco-chanel-_n_3293425.html Petrarca, E. (2014, July 31). What Makes Someone a Fashion Icon? [Web log post]. Retrieved from http://www. manrepeller.com/2014/07/what-makes-someone-a-fashion-icon.html Sherman, S. (2013, January 23). The Most Influential Personal Style Bloggers Right Now. [Web log post]. Retrieved from http://fashionista.com/2013/01/influential-fashion-style-bloggers-2013 Trebay, G. (2007). Isabella Blow, Flamboyant Discoverer of Fashion Talent, Dies at 48. Retrieved from http:// www.nytimes.com/2007/05/08/world/europe/08blow.html Valdesolo, F. (n.d.). The 15 Most Influential Style Icons of All Time. Retrieved from http://www.ivillage.ca/style/ fashion/the-15-most-influential-style-icons-of-all-time Weil, J. (2014). Cara Delevingne’s Social Media Cadre. Retrieved from http://www.wwd.com/fashion-news/fashion-scoops/cara-delevingnes-social-media-cadre-8036698
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