Case Study, Fashion Icons then & now

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.

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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

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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

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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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67

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69

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

77

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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80

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

83

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

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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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