Articles from Vanity Fair Magazine
This poem was submitted to the Vanity Fair editors by an obscure film critic named Carl Sandburg (1878 – 1967):
The room is dark. The door opens. It is Charlie
playing for his friends after dinner, ‘the marvel-
ous urchin, the little genius of the screen…’
Between the years 1920 – 1928, Sandburg served as the film critic for the Chicago Daily News.
In 1918, the London-based American expatriot sculptor Jacob Epstein was living life to the fullest and enjoying all the benefits his talents had provided him. He had no intention of joining the army of his adopted country and had successfully avoided the draft since the outbreak of the war. However in 1918, conscription caught up with him. Epstein hated the idea of joining the colors, believing that the military would kill his creative soul, but this article puts a nice spin on all that.
A quick look at some of the golf shoe offerings from the spring of 1916. Ties for the sport are also pictured, as is a portable ash-tray for use on the links.
Oddly, this essay has more to do with the evolution of golf from a shepherd’s pastime to the sport of kings, however there are some references made to the evolution of golf clothing:
Royalty did, however, dress up the game. It gave us the brilliant garments that golf captains wear in Britain. When I first went abroad I thought that I had never seen more splendid creatures. And the modern golf costume is a thing of mode and cut…
A Burberry’s tweed, self-belted golf suit for the fashionable woman of 1922.
Marion Hall Zinderstein Jessup has one of the most versatile games on the courts. Overhead and off the ground, she possesses virtually all the strokes in tennis, forehand, backhand, lob, smash, volley and block volley, yet she has a weakness, one that has cost her many an important match, and when she met Mrs Mallory in 1920, probably the national championship.
For tennis, of course, the conventional flannel trousers will continue their popularity this season. But many men will also wear white duck or twill trousers, which has the advantage of great coolness and comparatively easy to launder… -but wait! the excitement does not stop with such trilling prose! The reader will also find a lovely fashion drawing of some awfully mannly tennis players as well as photographs of the fashions being praised.
Four incredible sketches depicting the natty tennis clothing of 1921.
In 1916 Coco Channel was not a household word in American fashion circles yet, but judging by this fashion editorial that appeared in Vanity Fair magazine, one can assume that her presence was being felt.
Throughout the fall of 1918, American golf enthusiast H.B. Martin (Harry Brownlow Martin, 1873 – 1965), who was not one to dally on the links when there are hard questions to be asked, approached the champions of the game with one query in mind:
What is the ONE essential thing in golf?
As you will read for yourself, he came away with many different responses.
A look at the suits and fashion trends for the Summer of 1919.
An illustrated article from the chic Conde Nast magazine, VANITY FAIR, regarding one of the great Canadian disappointments of the immediate post-war years: the failure to build the Canadian war memorial building. By the summer of 1919 1,000 paintings and drawings depicting the experiences of the World War had been amassed with the intention of displaying them in a museum that was to serve as a remembrance to the Canadian servicemen of that war.
Throughout the Twenties and Thirties there were numerous advisory groups charged with the task of launching the museum, but they were never able to agree on key issues. With the outbreak of the Second World War the urgency of the project took root – and, finally, the Canadian War Museum was officially established in 1942 (and opend in 1967).
There are two paintings illustrating the article: Camouflaged Ships by E. Wadsworth and Strathcona Horse on the March by A.J. Munnings.
French war artist Charles Huard (1875 – 1965) produced theses seven illustrations of French Poilus as they once stood guard in the frozen misery of the Soisson trenches during the first winter of the war.
Huard’s experiences as a war artist can be read in his memoir: My Home In The Field Of Honor (1916)
The attached VANITY FAIR art review by Christian Brinton (1870 – 1942) covered the first public exhibition of the British War Artists to be shown on American shores (1919):
A direct product of war and war conditions, it reflects not only the varied aspects and incidents of the great struggle, but but also the actual state of British artistic taste at the present moment…England has been the first to enlist the services of the artist, and the readiest to grant him the measure of official standing so manifestly his due.
Launched jointly by the British Ministry of Information and the Worcester Art Museum, the exhibit was comprised of almost 250 paintings. This review discusses the art of Paul Nash, Muirhead Bone, Sir John Lavery, James McBey,Sir William Orpen, Augustus John, C.R.W. Nevinson, John Everett, Frank Brangwyn and Eric Kennington.
An illustrated article about the American sculptor Jo Davidson (1883 – 1952) and his creation, FRANCE AROUSED. The Davidson piece, a colossal depiction of France as an outraged warrior queen, was intended for the French village of Senlis to serve as a memorial to that remarkable day in September, 1914, when the German drive on Paris was stopped and driven back. It was at Senlis where the earlier successes of the German Army were reversed.
To those in America and Europe who believed in the new doctrine of political equality, it was the most thrilling day in her history.
When France in wrath
Her giant – limbs
upreared,
And with that oath,
Which smote air,
Earth and sea
Stamped her strong
foot and said she
Would be free.
The statue, which is twenty feet high, was made in the sculptor’s studio in McDougal Alley (NYC), where it was photographed for the pages of VANITY FAIR.
In 1919, Jo Davidson would endeavor to create a number of busts depicting the various entente statesmen who participated in the Peace Treaty.
VANITY FAIR‘s art critic, James Frederick Gregg, had a good deal to say concerning the art of the World War One American poster campaign:
…Indeed, so ineffective have most of the posters been as art, that it is ridiculous to imagine that they have had any effect whatever in stimulating in us the spiritual side of our share in the war.
This 1922 men’s fashion article is illustrated with seven images and riddled with wise words for all those seeking information regarding 1920s backless vests, patent leather dancing shoes, madras dress shirts and kid suede gloves for semi-dress wear.
By the Spring of 1915, the women of Paris, having seen that the Great War was not going away anytime soon, decided that it was time to add some gaiety into their wardrobe. Steadily – since the August of the previous year, there had been such bad news and although the rationing of fabric continued, there was still much available for the asking.
Click to read about the U.S. fabric rationing during W.W. II.
