{"product_id":"the-world-in-vogue-isbn-9780307271877","title":"The World in Vogue","description":"\u003cb\u003eFrom celebrated actors and models to artists and First Ladies, this stunning collection showcases 300 photos of social figures around the world, drawing on stories from the pages of \u003ci\u003eVogue\u003c\/i\u003e as well as never-before-published images by iconic photographers.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eHere are the glamorous weddings of \u003cb\u003ePlum Sykes\u003c\/b\u003e in Yorkshire\u003cb\u003e, Lauren Davis\u003c\/b\u003e in Cartagena, and \u003cb\u003eMinnie Cushing\u003c\/b\u003e in Newport; \u003cb\u003eTruman Capote\u003c\/b\u003e writing about cruising the Yugoslavian coast with \u003cb\u003eLee Radziwill, Luciana Pignatelli\u003c\/b\u003e, and the \u003cb\u003eAgnellis\u003c\/b\u003e; gardens from East Hampton to Corfu designed by landscape architect \u003cb\u003eMiranda Brooks\u003c\/b\u003e; \u003cb\u003eInès de La Fressange\u003c\/b\u003e’s apartment in Paris; \u003cb\u003eGloria Steinem \u003c\/b\u003ereporting on the 540 masked partygoers at the Black and White Ball Truman Capote threw for Katharine Graham at the Plaza hotel; the gardens of \u003cb\u003eValentino\u003c\/b\u003e’s seventeenth-century Château de Wideville, outside Paris; the designers, the best-dressed, and the stars at the annual Costume Institute party at the Metropolitan Museum; \u003cb\u003eMick Jagger\u003c\/b\u003e and his family in Mustique; \u003cb\u003eJacqueline Kennedy\u003c\/b\u003e and \u003cb\u003eMichelle Obama\u003c\/b\u003e; \u003cb\u003eKate Moss\u003c\/b\u003e, \u003cb\u003eMadonna\u003c\/b\u003e, \u003cb\u003eAngelina Jolie\u003c\/b\u003e, \u003cb\u003eCate Blanchett\u003c\/b\u003e, \u003cb\u003eAli MacGraw\u003c\/b\u003e, \u003cb\u003eAnjelica Huston\u003c\/b\u003e, \u003cb\u003eNicole Kidman\u003c\/b\u003e, \u003cb\u003eCher\u003c\/b\u003e, \u003cb\u003eIman\u003c\/b\u003e and \u003cb\u003eDavid Bowie\u003c\/b\u003e, \u003cb\u003ePenélope Cruz\u003c\/b\u003e, \u003cb\u003eCharlotte Rampling\u003c\/b\u003e, and many more.\u003cbr\u003e\u003cbr\u003eThese trendsetters and newsmakers are captured by such famous photographers as Cecil Beaton, Jonathan Becker, Eric Boman, Horst P. Horst, Edward Steichen, Irving Penn, Richard Avedon, François Halard, Helmut Newton, Stephen Meisel, Snowdon, Toni Frissell, Bruce Weber, Herb Ritts, and Annie Leibovitz. Not only did these photographers take dazzling portraits—in studios or on location—that caught these iconic figures in classic, playful, or dramatic moments but they also documented their parties, weddings, houses, and gardens.\u003cbr\u003e\u003cbr\u003eRichly illustrated in black-and-white and color, \u003ci\u003eThe World in Vogue: People, Parties, Places \u003c\/i\u003eis a stunning look at portraits, houses, gardens, and parties of celebrated figures from many worlds.Hamish Bowles is European Editor at Large for \u003ci\u003eVogue. \u003c\/i\u003eCurator of the Metropolitan Museum of Art’s 2001 exhibition “Jacqueline Kennedy: The White House Years,” he has written for such publications as \u003ci\u003eThe New York Times \u003c\/i\u003eand edited the book \u003ci\u003eVogue Living: Houses, Gardens, People.\u003c\/i\u003e He lives in New York and London.\u003cbr\u003e\u003cbr\u003eAlexandra Kotur is Style Director at \u003ci\u003eVogue\u003c\/i\u003e, where she often works on portrait sittings with Jonathan Becker and Annie Leibovitz. She is the author of \u003ci\u003eCarolina Herrera: Portrait of a Fashion Icon.\u003c\/i\u003e She lives in New York.In the teeming century that has passed since Condé Nast acquired \u003ci\u003eVogue\u003c\/i\u003e in 1909, the magazine has held a mirror to its times, reflecting a nexus of beauty, talent, and glamour through the decades.\u003cbr\u003e\u003cbr\u003eIn the mistiness of the Baron Adolphe de Meyer’s images, the glacial perfection of Edward Steichen’s, or the acuity of Irving Penn’s; against the fanciful backdrops of Cecil Beaton’s elaborate studio sets or the cool emptiness of Richard Avedon’s; under the elegant gaze of Horst P.\u003cbr\u003e\u003cbr\u003eHorst and George Hoyningen-Huene and Henry Clarke or the mischievous one of Helmut Newton; in the glamorizing visions of Steven Meisel and Herb Ritts and Mario Testino or via the all-seeing eye of Annie Leibovitz; and in the torrent of words from John McMullin, Truman Capote, Lesley Blanch, Valentine Lawford, Francis Wyndham, Plum Sykes, Joan Juliet Buck, André Leon Talley, and William Norwich, the chameleon worlds of fashion, society, and Hollywood have been memorialized by \u003ci\u003eVogue\u003c\/i\u003e with wit and reverence. Tradition and innovation, fastidiousness and carefree nonchalance, have each been embodied at various turns by the men and women who made fashion, and \u003ci\u003eVogue\u003c\/i\u003e has captured them all, celebrating their style and their surroundings, their parties and their philanthropy.\u003cbr\u003e\u003cbr\u003eTwo world wars and the Great Depression seismically shook the ordered societal hierarchies that a century ago seemed inviolate. But in their stead came new freedoms and liberations, and \u003ci\u003eVogue\u003c\/i\u003e has been there to record the triumph of the unfettered imagination. The world as \u003ci\u003eVogue \u003c\/i\u003ebegan to document it between the wars—where beauty and talent were as potent as title and pedigree—was in no small measure the literal creation of the urbane and cultivated Condé Nast himself. “What Chanel did to free fashion from elaborate stuffiness, Condé Nast did for society,” wrote his protégée Carmel Snow. In 1925, when Condé Nast gave the first of his legendary parties in his Park Avenue penthouse (lavishly decorated by Elsie de Wolfe), Snow noted, “he couldn’t leave out his friend Mrs. Vanderbilt and he couldn’t leave out his friend George Gershwin so he had them both—and thus café society was born.”\u003cbr\u003e\u003cbr\u003eAs this book reveals, the social mix of people drawn from the fields of the arts, culture, fashion, “society,” philanthropy, and politics continues to inform \u003ci\u003eVogue’s\u003c\/i\u003e sensibility—both in the stories and portraits in the magazine’s pages and in its glamorous satellite events, including the Metropolitan Museum’s annual Costume Institute gala.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eThe social order of the magazine’s earliest years, from its founding in 1892, was vividly evoked in a series of stories that appeared through the 1930s and 1940s, written by Frank Crowninshield, the Boston Brahmin editor of \u003ci\u003eVanity Fair\u003c\/i\u003e (1914–1936) and subsequent Fine Arts Editor of \u003ci\u003eVogue\u003c\/i\u003e. Crowninshield conjured the New York of Edith Wharton, when society, as he recalled, was ruled by “the imperial and really all-powerful Mrs. William Astor,” its numbers strictly prescribed by the capacity of her ballroom (400 people).\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eA mazurka, a white dress by Doucet, a whispered colloquy in a conservatory, the cut-crystal candelabra, the scent of orris on women’s gloves and of Guerlain’s lavender on their bodices and hair, the tap of a Venetian fan, a Hungarian band in wine-coloured jackets . . . flunkies in braided liveries, Strauss’s Lorelei Waltz, the sound of light laughter, a hand pressed on the stairway, white\u003cbr\u003eviolets, gold favors, black ostrich feathers, the gas-lights of Fifth Avenue, sleigh bells, and drifts of white snow—a debutante dance, as I remember it, 50 long years ago. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eMoney, beauty, and ambition might have been inadequate to penetrate the bastion of Mrs. Astor’s ballroom, but the scions of the impoverished noble families of Europe were less impervious to these qualities. Flocks of so-called dollar princesses formed matrimonial liaisons with the illustrious houses of England and France, of Spain, Portugal, and Italy, and \u003ci\u003eVogue\u003c\/i\u003e was there to celebrate them. In 1895, the exquisite Consuelo Vanderbilt led the way, compelled into a loveless match with the sadistic ninth Duke of Marlborough. \u003ci\u003eVogue\u003c\/i\u003e secured exclusive coverage of Consuelo’s trousseau, including details of her wedding dress, made under the supervision of the famed society dressmaker Mme Donovan and rumored to have cost nearly $7,000, and even her lingerie and corsets. (The alliance of beauty and power remains an enduringly potent one: \u003ci\u003eVogue\u003c\/i\u003e put the Slovenian beauty\u003cbr\u003eMelania Knauss on its February 2005 cover in the $200,000 Dior Haute Couture wedding gown that John Galliano designed for her wedding to Donald Trump—a dress so opulent and voluptuous it might have been fashioned for an Edwardian belle.)\u003cbr\u003e\u003cbr\u003eAfter World War I, the magazine chronicled a universe in Europe where looks, flair, and brilliance were passports to a new fluid\u003cbr\u003esocial order that thrived on novelty and amusement. It was this brave new world that Condé Nast would bring to America and that would shape \u003ci\u003eVogue’s \u003c\/i\u003eworldview for the rest of the century and beyond. “New York has been small, conservative, shall we\u003cbr\u003esay provincial,” wrote \u003ci\u003eVogue\u003c\/i\u003e in 1930, “and only lately has she been able to mix society (exactly what does that word mean?) and the professional classes—artists, writers, actors, musicians, and playwrights—without the danger of boring both sets.”\u003cbr\u003e\u003cbr\u003eParisian society, meanwhile, was in the vanguard of the social experiment that Condé Nast championed on the other side of the Atlantic. In France, the balletomane Comte Étienne de Beaumont and the visionary art patron the Vicomtesse Marie-Laure de Noailles were preeminent figures in the seamless mixing of aristocracy and the arts. At the de Noailleses’ palatial town house on the Place des États-Unis, guests were entertained by everyone from Bricktop to Georges Auric, and Europe’s aristocrats mingled with the city’s most distinguished and exciting cultural figures—Breton, Sartre, Aragon, Picas so, Braque, Chagall, Klee, Stravinsky among them.\u003cbr\u003e\u003cbr\u003eAt the de Beaumonts’ annual costumed Bal des Entrées, the highest French society mingled with haute bohemia, making their entrances in imaginatively costumed and carefully choreographed groups (Lady Abdy had Balanchine arrange hers). At the Bal Chinois at the Opéra (1923), for instance, the couturier Paul Poiret held court as a Chinese dignitary, and the Comtesse de Beaumont joined the Marquise de Polignac and the beautiful Duchesse de Gramont (whose fashion choices \u003ci\u003eVogue\u003c\/i\u003e scrupulously documented) for the “pageant of Chinese crystals,” wearing sensational costumes of silver cloth specially created by Vionnet and\u003cbr\u003eChéruit. Another enterprising group “were costumed as the hideous maladies feared by the Empress of China—bubonic plague, cholera morbus, spotted typhus, and boils.”\u003cbr\u003e\u003cbr\u003eAmerican socialites were quick to imitate, although a true original was the gargantuan pleasure-seeker Elsa Maxwell, from Keokuk, Iowa, who set the bar for entertaining in the modern manner. “Ruthlessness is the first attribute toward the achievement of a perfect party . . . ,” Maxwell explained in 1930. “Guests should be selected with as much care as a new Reboux hat. . . .” Maxwell’s guest lists also reflected the new social order. At a party at the Paris Ritz in honor of George Gershwin (1928), for instance, “the Cole Porters, the Duchess of Sutherland, Prince and Princess Serge Obolensky, Baron and Baroness Eugène de Rothschild, Michael Arlen, the Grand Duchess Marie, Princess Ilyinsky, Sir Charles Mendl, Allie Mackintosh, and Miss Fellowes-Gordon came. . . . After dinner, Gershwin and Cole Porter . . . vied with each other in playing and singing till the early hours of a clear Paris dawn.”\u003cbr\u003e\u003cbr\u003eIf Maxwell was party planner extraordinaire, the period’s social chronicler was the diminutive John McMullin. In the 1920s, he had re-created Walter Robinson’s As Seen by Him rubric, from the turn of the century. For two decades McMullin reported the fashions and foibles of the day, as well as on the playgrounds—Saint-Moritz, Cannes, Le Touquet, Deauville, Biarritz, Venice, and Monte\u003cbr\u003eCarlo—made newly fashionable by Maxwell herself. \u003cbr\u003e\u003cbr\u003eFrom the beginning, \u003ci\u003eVogue’s\u003c\/i\u003e vision of fashion was shaped by It girls, drawn not merely from the sequestered ranks of society but from the realm of entertainment, too. By dint of their beauty, presence, and innate style, these women—socialites, performers, models—set the fashions of the day.\u003cbr\u003e\u003cbr\u003eIn the teens, it was the willowy, bob-haired ballroom dancer Irene Castle who transformed the way women wanted to look, banishing the full-bosomed Edwardian Gibson Girl ideal. In the nineties it was Kate Moss, the waif from Croydon, who emerged to challenge the Amazonian magnificence of the reigning supermodels.\u003cbr\u003e\u003cbr\u003eBaron de Meyer, \u003ci\u003eVogue’s\u003c\/i\u003e star photographer from the teens and the early twenties, found his perfect subjects in movie stars Mary Pickford and the sisters Lillian and Dorothy Gish. Onstage, Ina Claire did much to launch Chanel in twenties New York, eclipsing the former power of the socialite tastemakers, while Gertrude Lawrence embodied Molyneux’s elegance in Noël Coward’s plays and revues—and popularized the Antibes suntan. \u003ci\u003eVogue\u003c\/i\u003e heralded Katharine Hepburn as “cinema’s latest meteor” in 1933, and Joan\u003cbr\u003eCrawford, wearing Schiaparelli’s extreme new broad-shoulder line, assumed “her most ambiguous look” for Steichen (1932). Meanwhile, the exaggerated glamour of Marlene Dietrich and Greta Garbo transformed the beauty industry\u003cbr\u003ein the thirties and inspired \u003ci\u003eVogue’s \u003c\/i\u003efashion photographers, artists, and society ladies to new heights of artifi ciality.\u003cbr\u003e\u003cbr\u003eThe concept of a professional supermodel was first embodied by the fabled Dolores (née Kathleen Mary Rose), a statuesque six-foot-tall blonde who had been discovered by the visionary dressmaker Lucile (Lady Duff Gordon) in 1909. Florenz Ziegfeld spotted Dolores in a Lucile fashion show and put her in his \u003ci\u003eFollies\u003c\/i\u003e dressed as a white peacock. Throughout the decades other celebrity models have created lives and careers beyond the pages of \u003ci\u003eVogue\u003c\/i\u003e.","brand":"Knopf","offers":[{"title":"Default Title","offer_id":46305101512933,"sku":"NP9780307271877","price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780307271877.jpg?v=1767742314","url":"https:\/\/k12savings.com\/products\/the-world-in-vogue-isbn-9780307271877","provider":"K12savings","version":"1.0","type":"link"}