Frank Crowninsheild Vogue Analysis

1380 Words6 Pages
Echo N. Fenner
Dr. Pinder
12 February 2018
The Year 1939
Come On, VOGUE “My interest in society – at times so pronounced that the word snob comes a little to mind – derives from the fact that I like an immense number of things which society, money, and position bring in their train: painting, tapestries, rare books, smart dresses, dances, gardens, country houses, correct cuisine, and pretty women.”
An apt summary of the ideals of the American-founded fashion periodical, Vogue, by the magazine’s then-editor, Frank Crowninsheild, though this quote may be, the “fashion bible” now serves as an invaluable glimpse into the political, social, and economical implications of the 1939 American elite. It is possible to analyze the historic institution
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A good hostess did all of her work before her husband came home in time to spruce and primp before her party, and looking and smelling like she had come home from a factory, then cleaned her entire house, prepared dinner and cocktails, and pleased her husband was not an acceptable way to present herself. She needed to smell like she had just taken a perfumed bath for the entire night, so Vogue sold her Odorno Cream Deodorant (“Stops perspiration safely!) and Chanel No.5 Cuir de Russie. Vogue also made sure she was well acquainted with Helena Rubenstein and Dorothy Gray: for the woman with oily skin, she prepped with Rubenstein’s Town and Country Make-Up Lotion; if she had dry skin, it was Rubenstein’s Town and Country Makeup Film. On top, she wore Gray’s Portrait Face Powder, Salon Cold Cream, and Daredevil Lipstick. She was always primped, primed, and ready to…show more content…
In the year 1939, from the United States declaring its neutrality in World War II, to The World’s Fair opening in New York, to Nylon stockings going on sale for the first time, the subconscious push for a unified, American woman look was apparently vital to the morale of disenfranchised females across the US. Vogue played an instrumental part in revitalizing the feminine aesthetic of the 1903s, and 1939, in particular, played a pivotal role in the costuming for the coming

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