Actor Jetta Goudal wearing a satin gown by Lanvin, from Vogue, November 1923.
Shooting for Vogue and Vanity Fair in the 20s and 30s, father of fashion photography Edward Steichen devised a mode of portraiture that still sets the template for style magazines today.
Actor Mary Heberden in 1935, published in Vogue.
Model Mario Morehouse and unidentified model wearing dresses by Vionnet, first seen in Vogue, October 1930.
Actor Joan Bennett in 1928, from Vanity Fair.
Red-haired woman circa 1927.
Red-haired woman circa 1927. Photograph: Universal History Archive/UIG via Getty Images
Hair is being dyed red when it is not naturally that colour. The fashionable colour is quite a startling shade, and lest there be any mistake that it is dyed, it goes with a white face and lips rather redder than is strictly natural.
Indeed, to be natural in colour, as far as Paris is concerned, is not to be seen at all. The delicate complexion, with suggestions of rosé leaf or lilies, has gone with the delicate shades in colours and people who wear orange and scarlet and magenta, and perhaps all three together, would disappear behind thee insipidity of their own completion alone.
Of course it is all a great tax of time and energies.
The face and hair have to be dressed to tone in with a particular colour scheme, and, just as pictures are being painted to go with particular wallpapers, so hair and faces are being coloured to go with particular materials.
It is very amusing; it also links up humanity to-day with all the humanity that has ever taken pleasure in painting itself red or blue, or in decrying those who liked to play with colours.
Vintage illustration of a flapper sitting at a vanity applying her makeup in the mirror, 1923. Photograph: GraphicaArtis/Getty Images
Where the Frenchwoman differs from the Anglo-Saxon races in dyeing her hair and painting her face is that she is very much more deliberate and very much more unconcerned about it.
She decides that these things must be and so she dyes her hair red and even after it has begun to grow and its roots show quite clearly that it did not begin life red she remains unconcerned about it.
The Anglo-Saxon is at heart always a little ashamed of “make-up.”
She shows it, either by attempting to conceal that it is make-up or by exaggerating its importance, and so with less artificiality in reality she looks more artificial than her French sister.
A poster for Clarence G. Badger’s 1928 comedy ‘Red Hair’ starring Clara Bow. Photograph: Movie Poster Image Art/Getty Images
Continue on Reading this Article from the Guardian Archives: Source: The allure of red hair – fashion archive, 24 August 1923 | Fashion | The Guardian
1980s, children & youth, fashion & clothing, humor & hilarious, life & culture, portraits
The 1980s brought us many inventive hairstyles. From mullets to crimped looks, there was nothing boring about this decade. The ’80s was all about excess, which is exactly how we would describe the worst hairstyles of the time.How could anyone have known that pastel satin, watermelon-size aviator glasses, and long mullets would fall out of fashion?
Don’t answer that. Instead, check out these terrible ’80s hairstyles.
Remember that 1920s encompasses a decade which is a long time in fashion, so there is not just one definitive look. At the beginning of the 20s, women were moving from their confined Edwardian corsets to rejecting them completely with their “dropped waist” dresses.
But by the end of the 1920s, the waist became popular again as women enjoyed their curves.
Take a look at these glamorous wedding dresses in France which were published on Les Modes (Paris) from between the 1920s and 1930s.
See more images via vintage everyday: 42 Glamorous Wedding Dresses from the 1920s and 1930s.
ca. 1943 — Model wearing double-breasted mustard-color tweed coat from Henri Bendel.
Extraordinary Color Fashion Photography Taken During the 1940s by John Rawlings
John Rawlings (1912-1970) was a mid-20th-century American modernist photographer who worked for Condé Nast for 30 years.
He grew up in Ohio before moving to New York in the early 1930s, and was hired by Condé Nast in 1936 as an assistant to Horst P. Horst and George Platt Lynes during their time at Vogue.
Rawlings was promptly sent to England in 1938 to set up an in-house photography studio at British Vogue. He shot more than 200 Vogue and Glamour magazine covers, as well as working on commercial print and television ads, portraits, and nudes.
Rawlings returned to America in 1940, and by the end of the decade was experimenting with light, using a combination of reflective materials with natural and artificial light.
The 1940s and 1950s were important decades in American fashion that photographers like Rawlings helped create and document. His iconic images capture the less theatrical and pared-down American aesthetic perfectly.
Charles Dare Scheips Jr., former director of the Condé Nast archive, has said, “Rawlings was certainly the first major Condé Nast photographer to demonstrate a truly American eye.”
ca. 1940 — Standing model in red wool slack suit emblazoned with eagle figure, with white shirt and white turban, surrounded by mythological illustrations.