Vogue 100: A Century of Style

Art
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5 out of 5 stars
4 out of 5 stars
(9user reviews)
 (Kate Moss by Mario Testino. © Vogue)
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Kate Moss by Mario Testino. © Vogue
 ('Limelight Nights' by Helmut Newton. © Vogue)
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'Limelight Nights' by Helmut Newton. © Vogue
 (David Hockney, Peter Schlesinger and Maudie James by Cecil Beaton. © Vogue)
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David Hockney, Peter Schlesinger and Maudie James by Cecil Beaton. © Vogue
 (Claudia Schiffer by Herb Ritts. © Vogue)
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Claudia Schiffer by Herb Ritts. © Vogue
 (© Vogue, courtesy National Portrait Gallery, London)
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© Vogue, courtesy National Portrait Gallery, London
 (© Vogue, courtesy National Portrait Gallery, London)
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© Vogue, courtesy National Portrait Gallery, London
 (© Vogue, courtesy National Portrait Gallery, London)
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© Vogue, courtesy National Portrait Gallery, London
 (© Vogue, courtesy National Portrait Gallery, London)
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© Vogue, courtesy National Portrait Gallery, London

Time Out says

5 out of 5 stars

Not just a pretty face – the style bible is a reflection of our times.

Fashion may be fickle, but the fashion photographer’s lens is also a mirror. ‘Vogue 100: A Century of Style’ is as much a reflection of a hundred years of our history as it is a celebration of the original glossy.

Born in 1916 during WWI, when shipping the US magazine became impossible, British Vogue has always been more than a fashion mag. And this exhibition is so much more than a collection of pretty models in pretty clothes – Boris Johnson has found his way on to the walls, for goodness’ sake! JG Ballard and Aldous Huxley have both written for Vogue. A pre-fatwa Salmon Rushdie has shared an issue with John Galliano, years before the latter’s fall from grace. Both Queen Elizabeth and her boozy mum have appeared. And, of course, most of the century’s best photographers have shot for its pages. Exhibition curator (and contributing editor to British Vogue) Robin Muir gave Tim Walker, the man responsible for many of today’s most fantastical Vogue shoots, his first job in the 1990s: archiving Cecil Beaton’s work for the magazine from the 1930s.

In this thoughtfully arranged show, it’s the little details that make the difference – from the cocktail style menu of credits in the 1930s room to the wall of seemingly disparate portraits of actress Helena Bonham Carter, milliner Stephen Jones and model Ben Grimes-Viort – united by a colour scheme of feathery pink. A side room shows a series of slides from the ’40s to the ’90s; as though you’re in the cutting room, you watch images go from picture to page.

There’s a charming library of bound copies in which you can survey the century of Vogue as a physical thing. A peek at the pages reveals coverage of major events with far-reaching consequences, like the bloody Alsace campaign at the end of WWII, as reported by Vogue’s very own war correspondent (and former model) Lee Miller. There are also moments of fashion history that reflect societal leaps, such as the launch in 1947 of Christian Dior’s ‘New Look’, which celebrated the end of austerity with its extravagant layers of fabric. Or Donyale Una becoming Vogue’s first black model, gracing the cover in 1968 – a whole ten years before US Vogue would do the same. British Vogue has been around for a century and, in one way or another, it has documented it all in the most beautiful fashion. 

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Users say (9)

4 out of 5 stars