Vanity Fair Magazine – Page 7 – Old Magazine Articles

Tango Fashions
(Vanity Fair Magazine, 1913)

The urgent word from Belle Époque Paris on the matter of proper Tango gowns was published in this 1913 article and accompanied by seven illustrations.

What shall you wear to the Tango Teas? Let me whisper to you a secret, only to be revealed when it is found out, my dear, there is no Tango in America, or, at least in New York. But it is quite different in Paris and it is for Paris and the Tango that the French dance frocks are made.

Click here to read about feminine conversations overheard in the best New York nightclubs of 1937.

The Collar Accessory That Time Forgot…
(Vanity Fair Magazine, 1918)

One of the unsung heroes of men’s fashions from the early part of the Twentieth century had to be the Triangle Hook. A nifty device, it was designed

to fit the soft collar for more fastidious wear; to make it fit the neck snugly, show the tie gracefully, and stay stylish…

‘Some Italian Futurists with a Past”
(Vanity Fair, 1915)

VANITY FAIR critic James Huneker(1860 – 1921) had a few words regarding the Italian Futurist painters. Huneker stated that he had been following their progress since he first attended a 1912 Futurist exhibit, and in the subsequent years had gained a familiarity with their 1910 manifesto, which he summed up for this articleVanity Fair critic James Huneker(1860 – 1921) had a few words regarding the Italian Futurist painters. Huneker stated that he had been following their progress since he first attended a 1912 Futurist exhibit, and in the subsequent years had gained a familiarity with their 1910 manifesto, which he summed up for this article.

Dogfight Over Hunland
(Vanity Fair, 1918)

British fighter pilot in the Great War, Lieutenant E.M. Roberts, gave this account of the deadly game of Boche-hunting above the clouds:

I noticed he was going down a little, evidently for the purpose of shooting me from underneath. I was not quite sure as yet that such was really his intention; but the man was quick…he put five shots into my machine. But all of them missed me.

I maneuvered into an offensive position as Quickly as I could, and I had my machine gun pelting him…The Hun began to spin earthward.

American Trucks & Armored Cars
(Vanity Fair Magazine, 1916)

Recognizing the importance of armored vehicles, a group of American millionaires, among them Henry Clay Frick (1849 – 1919), pooled their money and donated a number of such items to the New York National Guard. VANITY FAIR MAGAZINE pursued this story and produced this article as it developed with a thorough review of each of the donated military vehicles. Although the trucks are photographed, few are named.

Butlers
(Vanity Fair, 1916)

Some witty words on the topic of butlers; what to expect from butlers, the treatment of butlers and how exactly one should be butled

It is not easy to butle, but it is still more difficult to be butled to…

Silent Movie Caricatures
(Vanity Fair Magazine, 1922)

When the Five O’Clock Whistle Blows in Hollywood is attached;
it appeared in VANITY FAIR eight years after Hollywood was declared the film capital of the world.

This single page cartoon was created by one of the great American caricaturists of the Twenties: Ralph Barton, and all the kingpins of the young empire are depicted (among others): Douglas Fairbanks, Marry Pickford, Buster Keaton, Harold Lloyd, Bebe Daniels, Bill Hart, Wallace Reed, Gloria Swanson, Nazimova, Charlie Chaplin, Jackie Coogan, Fatty Arbuckle and the writer Rupert Hughes.
Lording above them all, and represented simply by jodhpurs and riding boots, stands the founder of the feast – Cecil B. DeMille (and his brother).

A Predictable Silent Movie I
(Vanity Fair, 192?)

Attached is a Vanity Fair cartoon from the days of silent film illustrating how unsophisticated those movies truly were and how wildly predictable the plots and characters always seemed to be. This cartoon, along with a number similar magazine articles on this site, illustrate that such thinking was not entirely rare.

Another anti-silent film article can be read here…

This critic didn’t like silent movies either – –

Predictable Characters from the Silent War Movies
(Vanity Fair, 1919)

Here are seven drawings by Henry Raleigh (1880 – 1944) that depict the sorts of silent film characters that were likely to be seen in the 1920s W.W. I movies. These sketches are accompanied by a few dry remarks by the Vanity Fair editors:

No matter how much we may wish to lose sight of the war, it can’t be done. There will always be reminders of it. You suppose that, just because a little thing like peace has been declared, the playwrights, the theatrical managers, and the moving picture producers are going to let a chance like the war get by? Since we have become accustomed to German spies, Red Cross nurse heroines, and motor corps vampires, we could never go back to the prosaic mildness of innocent little country heroines, villains in fur-lined overcoats and cub reporter heroes. No actor will ever again consent to play a society role in evening clothes with flap pockets and jet buttons, when he can appear in a war play wearing an aviator’s uniform and going around in a property airplane.

This 1918 silent movie was certainly mocked for its predictability…

Fashions from the Last Summer of the War
(Vanity Fair Magazine, 1918)

Six very fine fashion drawings illustrate what was generally perceived to be the chic silhouette during the August of 1918.

There may be some women who can get along without satin frocks, but it is exceedingly doubtful..

Much Talk of White Waistcoats, Shoes and Shirts
(Vanity Fair Magazine, 1921)

When the smoke cleared following the close of that dreadful unpleasantness that spanned the years 1914 to 1918, there remained much work to do; bodies to be buried, cities to be rebuilt. Men and nations prepared to face the new realities that came with the new social structure; many weighty subjects had to be addressed that had been ignored for so long a time. The most pressing of these topics was deciding which was the proper combination of white waistcoat and dinner jacket? In an age of industrial slaughter, which was more suitable: double-breasted or single-breasted? and what of ties, shoes and overcoats?

Theater Intermissions and Prohibition
(Vanity Fair, 1919)

Prohibition has been pretty rough on everybody, but there is no class of people which it has hit so hard as the theater-goers. The Federal Amendment has completely wrecked their evenings. It isn’t so bad while the show is going on; the blow falls between the acts. In happier times the intermissions were the high spots of the evening…

With pin-point accuracy, Vanity Fair was able to identify the new minority-victim class that emerged from America’s unfortunate experiment with Prohibition: Broadway theater enthusiasts (It might be argued that the real victims were American bar tenders, many of whom high-tailed it over to Europe where they established a number of American-style bars).

The attached page from the magazine can be classified as humor and is illustrated with six great sketches by Edith Plummer.

Read other articles from 1919.

Charles Huard: War Artist in the 1914 Trenches
(Vanity Fair, 1915)

Seven sketches from Soissons by the war artist Charles Huard (1875 – 1965) as they first appeared in a fashionable American society magazine.

Click here to read additional article about the World War I artists.

The Well Dressed Man in Winter
(Vanity Fair Magazine, 1921)

Illustrations of fashion’s offering from the Fall of 1921: great coats, semi-great coats, overcoats and ulsters; raglan and otherwise.

Russian Modernism After the Revolution
(Vanity Fair, 1919)

Art alone survives the earthquake shocks of revolution, and Russian art has been doubly secure because of it’s deep-rooted imagination and it’s passionate sincerity.

That was the word from Oliver M. Sayler writing from Moscow as it starved during the Summer of 1919. Sayler, known primarily for his writings on Russian theater from this period, wrote enthusiastically about the Russian Suprematist Casimir Malyevitch, Futurist David Burliuk and The Jack of Diamonds Group; believing deeply in the Russian Revolution, he wrote not a word about how the Soviets mistreated the modern artists of Russia.

Paris Fashion: Summer, 1916
(Vanity Fair Magazine, 1916)

Paying no mind to the continuing unpleasantness that was taking place somewhere around the Somme (ie. W.W. I), the taste-makers of Paris soldiered-on and created garments for mid-summer that were original and feminine and bore the mark of Paris’ characteristic opulence.

Legendary fashion designer Christian Dior had a good deal of trouble with people who would illegally copy his designs; click here to read about that part of fashion history.

Remembering the Golden Age of the Dandy
(Vanity Fair Magazine, 1920)

This is a fun read covering the all too short reign of the dandy. It touches upon those who were the great practitioners of the art (Beau Brummell, Sir Phillip Dormer Chesterfield, Beau Nash, Sir Robert Fielding, Count Alfred d’Orsay) and those who came later, but deserving of honorable mention (King Alphonso XIII and Oscar Wilde), as well as the wannabe bucks who wished they were dandies but simply came away well-tailored (George IV and Edward VII).

An article about Beau Brummell can be read HERE

Wet vs. Dry
(Vanity Fair, 1918)

If you are looking for a serious report concerning the political battles fought in Congress regarding Prohibition (1919 – 1933), you can keep looking. The attached essay is a humorous parody of that dispute between the Drys and Wets as it existed just months before the ‘Noble Experiment’ began in earnest. By November of 1918, the American newspaper readers had simply overdosed on the redundant writings of assorted war correspondents – and so, with a bit of whimsy, the VANITY FAIR writer George S. Chappell sat down to write about the political war between these two groups using the same journalistic affectations everyone was so heartily sick of. You will also find a mock military map depicting the faux topography in dispute.