The Lady in Red

January 12, 2013

Kees van Dongen painted The Corn Poppy in 1919, which features the fashionable female of the period sporting cropped hair,
thick eye make-up and a red lip. In 1959, English photographer Norman Parkinson payed homage to the fauvist painting with
his photograph entitled After van Dongen, published in the November 1959 issue of Vogue.

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 Mermaid-Style
January 12, 2013

Regarded for his skill to capture even the slightest sartorial detail, Irving Penn frequently photographed his muse and wife,
Lisa Fonssagrives, who represented the beauty ideal of the period now referred to as the golden age of couture. In this
photograph published in Vogue’s September 15, 1950 issue, Fonssagrives wears a gown by Rochas, displaying the fashionable
hourglass silhouette of the period. Vogue’s September 2012 cover, featuring Lady Gaga shot by Mert Atlas and Marcus Piggott,
depicts the singer in a Marc Jacobs gown with a similar silhouette. While the contemporary image bears significant resemblance
to Penn’s, it gives off an impression of a hyperreality, perhaps hinting at what the Vogue cover story refers to as Lady Gaga’s
”peculiar relationship with the truth.”

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 White Hot
January 13, 2013

Steven Meisel looked to the 1967 film Belle du Jour for Vanity Fair’s December 2008 cover featuring Kate Winselt, describing
the actress as “Deneuvely” in her risque ensemble. The 2012 Dior Timepiece campaign shot by Patrick Demarchelier stars Dior
spokesmodel Charlize Theron seductively posed in a similar state of dishabille apart from the white coat and watch by Christian
Dior.

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 La Vie en Rose
J a n u a r y 1 3, 2 0 1 3

In accordance with his passion for photographing still lifes and floral vanitas, Irving Penn photographed Shalom Harlow in a
floral creation by milliner Philip Treacy and dress by Richard Tyler for Vogue in April 1, 1995. Terry Richardson’s 2012
September Harper’s Bazaar cover features Gwen Stefani topped similarly in an oversized floral hat by Alexis Mabille paired
with a petal pink dress from Raf Simon’s last collection for Jil Sander.

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 Umbrella Weather
J a n u a r y 1 3, 2 0 1 3

With a background in reportage and sports photography, Hungarian photographer Martin Munkasci became a pioneer in
active, candid-style fashion photography. Puddle Jumper by Munkasci was published in Harper’s Bazaar in 1934 and has
become one of the most recognized images in fashion photography. In 1957, Richard Avedon, who would also revolutionize
fashion photography through dynamic, active images, paid tribute to the Munkasci photograph Homage to Munkasci starring
model Carmen in a Pierre Cardin coat in the September issue of Harper’s Bazaar.

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 Sun Bleached
January 14, 2013

Featured in the June 1, 1941 issue of Vogue, John Rawlings photographed summer bathing suit fashions in his signature
quintessentially American and low-frill style. Missoni’s Spring/Summer 2009 campaign by Steven Meisel features a
comparable birdseye view of the sunbathers Natasha Poly, Danny Schwarz, Mat Gordon & Isabeli Fontana dressed for the sun.

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 Down the Rabbit Hole
January 14, 2013

German photographer Erwin Blumenfeld’s Dada background is evident in his collage-like images and photographic
manipulations. Blumenfeld’s Nude in Stockings, 1945 can be viewed as a precursor to the work of French photographer Guy
Bourdin. Bourdin ‘s Spring 1979 campaign would become one of his most well-known images, typical of his work which featured
disembodied legs wearing shoes by Charles Jourdan.

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 Junon
January 14, 2013

Christian Dior’s Junon gown from the designer’s 1949 collection, which also featured gowns by the names of Venus and Hera,
is constructed with a skirt of beaded ombré petals resembling peacock feathers, a bird possessing classical symbolism through
its associations with the Queen of the Olympians. The ball gown, housed at The Costume Institute at The Metropolitan Museum
of Art, has been a source of inspiration to countless designers. In 2009, Miley Cyrus wore a dress bearing uncanny resemblance
to Junon to The Oscars by Lebanese designer Zuhair Murad whose publicist commented that Murad’s version “re-creates the
look of the Dior gown using today’s technology.”

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 We’ll Always Have Paris
January 14, 2013

Erwin Blumenfeld photographed a reportedly unharnessed Lisa Fonssagrives swinging her Lucien Lelong dress off the side
of the Eiffel Tower in celebration of the monument’s fiftieth anniversary for French Vogue in 1939. In August of 2009, the
subscriber cover of Harper’s Bazaar shot by Peter Lindbergh portrayed Kate Winslet in a similar fashion, wearing a Ralph
Lauren gown infront of the Chrysler Building.

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 Go Bananas
January 14, 2013

A pioneer for African American women, Josephine Baker is commonly associated with her seductive banana dance
performance at the Folies Bergère, costumed in a skimpy skirt constructed with a string of artificial bananas. In 2006, Beyonce
payed tribute to Baker by sporting her own version of a banana skirt for the Fashion Rocks concert.

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 Madame X, Y & Z
January 14, 2013

The controversial and widely known John Singer Sargent portrait, Madame X, maintains its intrigue and mystery till this day.
The once fallen strap to be later repainted in its rightful position continues to fascinate viewers and has been the subject of
multiple recreations. In 1999, Steven Meisel recreated the portrait with Nicole Kidman wearing Oscar de la Renta for Vogue‘s
June issue. In 2008, Peter Lindbergh also payed homage to Singer Sargent, starring Julianne Moore in Ralph Lauren for the
May issue of Harper’s Bazaar.

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 Put Your Best Face Forward
January 25, 2013

The disposable paper dress was first introduced in 1966 by the Scott Paper Company. Soon after, pop and graphic artists such
as Harry Gordon, began producing garments constructed of the material, including Gordon’s “Mystic Eye” shift dress in 1968.
In Lanvin’s SS 2007 show, designer Alber Elbaz sent a 60s shift dress down the runway with a similar graphic print. Although
the Lanvin shift was not composed of paper, Elbaz also looked to textile technology, describing his desire “to touch technology,
engineering, silicone, nylon, metal, and plastic” in designing the collection.

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 Message in a Bottle
January 26, 2013

Known for his daring, high shock value aesthetic, Guy Bourdin would often photograph scantily dressed models in provocative
poses and environments. Terry Richardson undoubtedly looked to Bourdin for inspiration with a strategically placed fragrance
bottle in the 2007 fragrance campaign for Tom Ford.

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 Proud as a Peacock
January 27, 2013

Housed at the FIDM Museum, Alexander McQueen’s Peacock Dress exemplifies the designer’s ability to incorporate historic
symbolism and reference past modes of dress to create a final garment that is cutting edge and culturally relevant to our
contemporary eyes. The Peacock Dress belonged to McQueen’s FW 2008 collection entitled, “The Girl Who Lived in a Tree,”
which was dedicated to the British Empire. In 2010, costume designer for Harry Potter and the Deathly Hallows: Part One,
Jany Temime, created a dress bearing significant resemblance to McQueen’s, worn by Fleur Delacour in her marriage to Bill
Weasley. In an interview with the LA Times, Temime does not mention the McQueen dress, but cites her desire to create a
fantastical gown which incorporated the symbolism and representation of a phoenix.

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 A Room with a View
January 29, 2013

Under the direction of Diana Vreeland at Vogue, German photographer Horst P. Horst began photographing high society
within their living spaces throughout the 60s. Horst photographed fashion designer, writer and International Best Dressed Hall
of Famer, Pauline de Rothschild, peeking into her whimsical Parisan bedroom on rue Méchain in the June 1, 1969 issue of
Vogue. Perhaps paying homage to the Horst photograph, Steven Meisel photographed Linda Evangelista exuding an aristocratic
flair and also caught in the doorway of a muraled interior. The image belonged to an editorial entitled “The Duchess” and ran
in the June, 2008 issue of Vogue Italia.

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 A Man and His Muse(s)
January 30, 2013

In a 1960 September Issue of Life Magazine, Milton Greene photographed designer Norman Norell proudly standing amongst
his muses: models dressed in his signature sequined sheath gowns along with the Marchesa Luisa Casati, portrayed in Kees van
Dongen’s 1921 painting, “The Quai, Venice.” Norell owned the portait of the eccentric Marchesa (the same Marchesa who
inspired the label Marchesa by Georgina Chapman and Keren Craig) and designed his Fall 1960 collection in her honor. To
celebrate Tom Ford’s return to womenswear design after his six year absence, Vogue offered its readers a preview of the
designer’s Spring 2011 collection photographed by Steven Meisel. Meisel’s image features Mr. Ford positioned amongst his
designs in a fashion similar to Greene’s portrait.

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 Put a Ring on it
January 31, 2013

Perhaps making a comment on her willingness to sacrifice herself in the name of fashion, costume collector and heiress
Daphne Guinness accessorized with a neck coil much like the brass wires worn by the Padaung women along the Thai and
Burmese border. The origins of this body modification practice are unknown and there are even greater mythologies about the
jewelry’s effect on the wearer, regardless Daphne Guinness embraced the tradition with her own set of temporary coils for the
2012 New York City Ballet Gala honoring designer Valentino.

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 Mirror Mirror
F eb r u a r y 1 , 2 0 1 3

Transgressive German photographer Helmut Newton, established a prolific body of work in his signature voyeuristic style
which changed the landscape of 20th-century fashion photography. Much of his work stemmed from the New Objectivity
movement born in the hedonistic Weimar Republic of the photographer’s youth. Bergström Over Paris shot in 1967 is typical
of the photographer’s work, and was recreated by photographer Giampaolo Sgura. Sgura photographed model, Anna de Rijk
undressed apart from her stockings and Louboutins, perched over the Parisian skyline for Antidote Magazine‘s Shoe Issue in
2011.

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 Birds of a Feather
F eb r u a r y 4 , 2 0 1 3

This peculiar scarf and muff set, housed at The Costume Institute at The Metropolitan Museum of Art, represents the
fashionable use of birds in 19th-century dress, which often featured bird components of feather plumes or a bird used in its
entirety as seen here. The accessory set is also thought to draw attention to the wearer’s own swan-like neck; a strong feature
of the period’s beauty ideal. In 2001, Icelandic artist Björk wore what has now become one of the most infamous red carpet
dresses. Designed by Macedonian Marjan Pejoski, the frock referred to as the swan dress, was meant to symbolize fertility, a
notion further reinforced by Björk as she left a trail of eggs down the red carpet.

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 To Catch a Thief
F eb r u a r y 5 , 2 0 1 3

A profile on George Clooney in Vanity Fair’s November, 2006 issue likened the actor to those of Hollywood’s past, portraying
Clooney as a modern day Gregory Peck, James Stewart or Cary Grant. To accompany this comparison, photographer Norman
Jean Roy, who often looks to Old Hollywood for inspiration, photographed George Clooney along side a Hitchcock Blonde
played by model Gemma Ward in an homage to Alfred Hitchock’s 1955 film, To Catch a Thief.

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 Masked Beauty
F eb r u a r y 7 , 2 0 1 3

At a time when photography was considered more mechanical than artistic, photographer and artist Edward Steichen strove
to elevate fashion photography to the level of a fine art. Steichen began his career shooting images in a pictorialist manner in
1902, and eventually evolved his style to a heightened realism; however, Steichen’s photographs never lost their painterly
aesthetic. The July 15, 1926 issue of Vogue featured Steichen’s eerie image entitled Parasol, which captured models Marion
Morehouse and Helen Lyons both dressed in masks by Polish illustrator and painter W.T. Benda. Fantastical photographer Tim
Walker paid homage to Steichen’s melancholic photograph in the February, 2009 issue of Vogue Italia with mannequin-like
models posed in a similar fashion.

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 Memory Like an Elephant
F eb r u a r y 8 , 2 0 1 3

Richard Avedon helped to define the post WWII woman with his imagery of impossibly elegant women, theatrically posed
within Avedon’s signature theatric narrative style. Dovima with Elephants is one of Avedon’s most well-known photographs
featuring the model Dovima dressed in Dior at the Cirque d’Hiver of 1955 in Paris. To celebrate the relaunch of Harper’s Bazaar
UK, previously Harper’s and Queen since 1970, in March of 2006, Norman Jean Roy photographed actress Cate Blanchett in a
black Vivienne Westwood bodice and skirt ensemble similarly positioned amongst elephants, perhaps an homage to Avedon’s
rich history at Harper’s Bazaar.

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 It Takes Two
F eb r u a r y 1 1 , 2 0 1 3

Tina Turner’s long lasting career, her energetic, vivacious stage presence, along with her signature legs often exposed in
revealing, body-conscious costumes, helped her to earn the title, “The Queen of Rock ‘n’ Roll.” In 1979, Turner performed at
the Carré theater in Amsterdam, dressed in a leather leotard with lace accents and a deep plunging neckline by an unknown
designer. Beyonce has often referred to Turner as one of her icons and the duo came together for a performance during the
2008 Grammys. For Beyonce’s Superbowl halftime show, Beyonce performed in a leotard bearing significant resemblance to
Tina Turner’s 1979 costume. The New York Time reported that the designer of the risqué ensemble, Rubin Singer, was inspired
by Valkyrie, beautiful women warriors of Norse Mythology, and made no mention of Tina Turner’s similar look.

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 A Frame of Mind
F eb r u a r y 1 2 , 2 0 1 3

A Surrealist sixty years before the movement, the The Countess de Castiglione was considered the most beautiful woman of
the Second Empire, mistress to Napoleon III and a constant fixture of society portrait photographer Pierre-Louis Pierson’s
work. The Countess was enraptured by her own beauty, taking great delight in being photographed by Pierson, and often having
parts of her body photographed in an isolated, disembodied manner. In one of her most well-known photographs, Scherzo di
Follia, the Countess holds an empty picture frame to her eye with a commanding gaze. In the May 1, 1951 issue of Vogue,
photographer Richard Rutledge payed homage to the Countess with his image of model Carmen Dell’Orefice peering through
a similar, oval-shaped picture frame.

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 Yellow-Bellied
F eb r u a r y 1 3 , 2 0 1 3

The Robe à la Française, a gown popular throughout much of the 18th century, consists of an open front robe exposing a
highly decorative underskirt, double box pleats at the back showcasing expansive ornate Rococo textiles, a square neckline and
a conical shaped bodice achieved by a stomacher. The stomacher, or the triangular panel at the front of the bodice, was a
separate component of the dress and often featured elaborate ornamentation. Zac Posen’s Fall 2013 showcase, featured a golden
yellow gown with a similar triangular shaped bodice. This 18th-century reference was not constructed with an additional panel,
rather through clever gathers and darts.

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 Arsenic and Old Lace
F eb r u a r y 1 4 , 2 0 1 3

To commemorate her transition out of silent films and into motion pictures with sound or talkies, Edward Steichen
photographed American actress Gloria Swanson in 1924. A pioneer in the field of fashion photography, Steichen would build a
prolific body of work capturing the glamour of Hollywood’s Golden Age. In Swanson’s portrait, Steichen suspended a piece of
black lace directly between Swanson and the camera, capturing what he later referred to in his biography as “her look of a
leopardess lurking behind leafy shrubbery, watching her prey.” Acne Paper Issue 9 FW 2009 featured an editorial starring Tilda
Swinton channeling not Gloria Swanson but the Italian heiress Marchesa Luisa Casati. Photographed by Paolo Roversi, the
image clearly references Steichen’s well-known photograph with the use of lace, veiling Tilda Swinton who appears to take on
the role of the prey rather than the predator.

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 Whistleblower
F eb r u a r y 1 8 , 2 0 1 3

Aesthete artist and dandy, James Abbott McNeill Whistler, painted Arrangement in Grey and Black No.1, better known as
Whistler’s Mother, in 1871. The portrait or arrangement as Whistler preferred, was not recieved with praise in London at the
Exhibition of the Royal Academy of Art in 1872 and only gained its success years later in Paris when it was acquired by the
Musée du Luxembourg in 1891. Today, Whistler’s Mother has come to represent motherhood and family values and is often
recreated and referenced in popular culture. For Christian Louboutin’s FW 2011 lookbook campaign, photographer Peter
Lippmann recreated several of history’s most well-known works of art, including and perhaps likening the red Louboutin sole
to a work of art.

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 Head of Holofernes
F eb r u a r y 2 0 , 2 0 1 3

Viennese Secessionist artist Gustav Klimt’s gold-leafed, kaleidoscopic paintings have been referenced, reinterpreted and
looked to for inspiration by countless artists and designers. In Judith and the Head of Holofernes, Klimt presents us with his
version of the biblical tale featuring his muse and reported lover, the Austrian socialite Adele Bloch-Bauer. In describing her
F/W 2013 collection to Vogue, designer L’Wren Scott revealed, “I’m having a gold moment” looking to Gustav Klimt’s portrait
of Bloch-Bauer for inspiration.

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 Bottle Shock
F eb r u a r y 2 1 , 2 0 1 3

In 1937, Elsa Schiaparelli launched the fragrance Shocking de Schiaparelli, packaged in bottles which resembled a female
figure. The curves were supposedly based on those of the provocative actress Mae West, who also served as a muse to surrealist
artist Salvator Dali in the creation of a mouth-shaped sofa modeled after West’s bee-stung lips. Jean Paul Gaultier’s similar
body-shaped bottles have become a signature design throughout the brand’s range of fragrances.

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 Fit as a Fiddle
F eb r u a r y 2 2 , 2 0 1 3

A proponent of the Surrealist and Dada movements, Man Ray would build a prolific body of work as an artist and
photographer. Inspired by Ingres’s La Grande Baigneuse, Man Ray photographed Alice Ernestine Prin, better known as Kiki de
Montparnasse, a social fixture of the bohemian culture of Paris in the 20s (who also inspired the contemporary lingerie brand
of the same name), in his widely-known photograph Le Violon d’Ingres, 1924. Placing violon scrolls on the waist of Kiki de
Montparnasse, Man Ray spoke of a literal objectification of the female form, likening her curves to that of a violin’s. For his
F/W 2011 show, Jean Charles de Castelbajac looked to Man Ray, printing the famous silhouette onto jewel-toned dresses.

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 Catch the Wave
F eb r u a r y 2 3 , 2 0 1 3

The Great Wave off Kanagawa by Katsushika Hokusai is one of Japan’s most well-known prints of the Edo Period. The
woodblock print (a method also used to print textiles) features a tremendous wave towering over a seemingly minuscule Mount
Fuji, a mountain that is traditionally presented as a compositional focus. For Christian Dior’s Spring 2007 couture show, John
Galliano looked to Japan in a collection that could be characterized as contemporary Japonisme. Inspired by “Pinkerton’s affair
with Cio-Cio San, Madame Butterfly,” Galliano incorporated the famous print onto the hem of a white gown.

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 Out of Print
F eb r u a r y 2 5 , 2 0 1 3

An offshoot from the Vienna Secession, The Wiener Werkstätte was developed in 1903, under the direction of Josef Hoffman.
Founded on the principles of the Arts and Crafts movement, the workshop’s mission was to develop fine, well-made products
in a wide range of goods to create a Gesamtkunstwerk, or total work of art. In addition to metal works and ceramics, the Wiener
Werkstätte would produce textiles and jewelry. Emanuel Josef Margold’s embroidery design of 1907, typifies the aesthetic of
the workshop of bold geometric shapes with an architectural quality, a stark departure from the Art Nouveau movement. For
the FW Spring 2013 show, Peter Dundas for Emilio Pucci showed prints bearing strong resemblance to the Wiener Werkstätte
aesthetic.

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 15th-Century Muse
F eb r u a r y 2 6 , 2 0 1 3

Robert Campin is often acknowledged as the first of the great Flemish painters, praised for his most-well known work of art,
The Mérode Altarpiece, which is housed at The Cloisters at The Metropolitan Museum of Art. Alexander McQueen looked to
Campin’s The Thief to the Left of Christ, in his FW 1997 collection entitled It’s a Jungle Out There. Often finding inspiration in
the grand and historic, McQueen printed Campin’s painting of the crucifixion onto a jacket, dismantling and then re-piecing
the image to achieve a patch-work style garment.

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 Name of the Game
F eb r u a r y 2 7 , 2 0 1 3

In the fall of 2012, Yves Saint Laurent announced the appointment of its new Creative Director, Hedi Slimane, who
subsequently renamed the brand as a part of a creative overhaul. Silmane rebranded Yves Saint Laurent to Saint Laurent Paris,
garnering great criticism and industry backlash on the grounds that Slimane was disregarding an iconic brand and logo.
However in 1966, Yves Saint Laurent himself launched a ready to wear line as a reaction to the growing fashionable youth that
did not subscribe to couture culture, naming the line Saint Laurent Rive Gauche. In moving forward with YSL, Slimane was in
fact looking back at the brand’s history.

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 Her Biggest Fan
F eb r u a r y 2 8 , 2 0 1 3

Amedeo Modigliani’s modern aesthetic was characterized by his subject’s mask-like faces, which drew inspiration from
African art, and his elongated figures. In 1919, Modigliani painted the polish woman Lunia Czechowska, in Woman with a Fan.
Two years before the painting was stolen from the Musée d’Art Moderne de la Ville de Paris, Peter Lindbergh photographed
Julianne Moore wearing a marigold Calvin Klein sweater-dress in homage to Modigliani for Harper’s Bazaar’s June, 2008 issue.

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 Rattle Your Cage
March 1, 2013

The bustle or dress improver experienced two waves of popularity in the 19th century; the first bustle period ranged from the
end of the 1860s into the 1870s and the second took place ten years later in the 1880s. The steel cage of the bustle was an
understructure, worn beneath the dress, to create volume and support the ruffles, bows and layers of fabric placed at the back
of the fashionable 19th-century costume. Jean Paul Gaultier, who often incorporates historical elements of dress into his
couture collections, created a bridal headdress resembling a bustle crinoline for his FW 2008 collection; perhaps linking the
bustle phenomenon of the Victorian age with contemporary bridal culture, which also has roots in the 19th century.

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 Pull Up a Chair
March 4, 2013

Often looking to the surreal and fantastical, Melvin Sokolsky would play with proportion and perspective by incorporating
miniature or blown up props into his fashion editorials. In 1963, Sokolsky photographed the model Iris Bianchi in series of
images in which she is perched, seated on or climbing on top of an oversized chair for Harper’s Bazaar. 47 years later, Bazaar
would feature a similar image in its pages, shot by Mark Seliger the photograph features a minuscule Demi Moore dressed in a
Chanel dress and bolero set and seated on top of an equally large chair.

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 Testing the Water
March 5, 2013

Toni Frissell is acknowledged as the first major female fashion photographer for Vogue and Harper’s Bazaar, known for her
carefree, relaxed aesthetic. Frisell would take her models out of the studio and place them within nature, promoting a healthy
active lifestyle which embodied the American woman. Having previously photographed an underwater editorial for Vogue in
1939, in 1947, Frissell would again photograph models floating in Weeki Wachee Springs, Florida, producing a stunning,
timeless image. For Vogue Nippon’s May 2010 issue, Norweigian photographer Sølve Sundsbø would also shoot an underwater
fashion spread, photographing model Alla Kostromicheva in the editorial, The Girl from Atlantis.

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 Year of the Dragon
March 6, 2013

The representation of the dragon in Chinese dress was historically reserved for the emperor and his circle since the beginning
of the Song Dynasty. More recently, the motif has become a pervasive element in traditional Chinese dress styles. For the 1934
film Limehouse Blues, costume designer Travis Banton dressed Anna May Wong, one of Hollywood’s first Chinese film stars,
in a black cheongsam-style gown embellished with gold and silver sequins forming a dragon motif. For the SS 2013 Emilio Pucci
show, Peter Dundas reapproriated historical elements of Asian dress into his collection; utilizing woodblock prints, kimono-
style sleeves and the depiction of a gold dragon motif on a similar straight, black long-sleeved gown.

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 Shop Art
March 7, 2013

Keith Haring began his short career in 1978, producing paintings, sculptures and murals in his signature cartoon-like graphics
until his premature death in 1990. Haring’s philosophy to heighten the accessibility of his art was reinforced by his Pop Shop,
a store which carried Haring memorabilia, home goods and clothing all featuring Haring’s signature designs. In 2011, shoe
designer Nicholas Kirkwood paid homage to Haring with a collection of footwear showcasing Haring’s aesthetic and in doing
so, continuing Haring’s commitment to enhance his artistic reach.

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 The Year 1000
March 11, 2013

For Dolce and Gabbana’s FW 2013 collection, the design duo continued to draw inspiration from the island of Sicily. In the
Sicilian province of Palermo, the Cathedral in the town of Monreale is considered one of the greatest extant examples of Norman
architecture in the world; the interior of the cathedral is renowned for the exquisite mosaics lining the walls. Dolce and Gabbana
payed homage to the cathedral, incorporating imagery found in the mosaics directly into their collection. The collection featured
a clean, straight-cut top void of any embellishment apart from the printed mosaic depicting the Sicilian King William II offering
the cathedral to the Virgin Mary.

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 On the Street
March 12, 2013

Street style photography is deemed a contemporary fashion phenomenon, however, Edward Linley Sambourne proves
otherwise. Sambourne photographed unaware fashionable female passersby, often dressing in a shirtwaist, Gibson Girl
manner, in London and Paris at the turn of the 20th century. Sambourne’s interest in capturing streetstyle is continued today
by photographers such as Bill Cunningham and Scott Schuman.

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 It’s Ruff Out There
March 13, 2013

Dress in 17th-century Netherlands was unlike that of the rest of Europe. Although the Dutch were no longer under Spanish
rule, they continued to dress in black, considered a modest and somber color. The Dutch would also extend the usage of the
ruff–an element of costume which was falling out of fashion in the rest of Europe. For Valentino’s FW 2013 show, Maria Grazia
Chiuri and Pierpaolo Piccioli were inspired by the art of the Old Flemish Masters, looking at portraits and painted tiles. The
result was little demure dresses in black with white collars and cuffs, as well as blue and white prints resembling Delft ceramics.

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 Magnetic Fields
March 14, 2013

Famed window dresser for Bonwit Teller and Tiffany & Co, Gene Moore would also photograph fashions for Vogue in 1953.
Moore’s 1953 photograph of a woman literally attracting a man with a magnet would be recreated by Tim Walker in 2008.
Walker often restages well-known photographs, adding his signature whimsical style to the overall composition. In this version,
the woman is attracting more than men with her over-sized magnet for Vogue UK‘s December 2008 issue in the editorial “Tales
of the Unexpected,” which paid homage to Roald Dahl, creator of the most beloved children’s tales of the 20th century.

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 DV + SJP
March 15 , 2013

Vivacious fashion editor of Harper’s Bazaar, editor-in-chief of Vogue and Curator at the Costume Institute, Diana Vreeland
is often referred to as the Empress of Fashion. Vreeland’s impact on the fashion industry is immeasurable, responsible for the
bikini’s first appearance in a fashion editorial, photographed Toni Frissell, and for the careers of many fashion industry notables
including model turned actress, Lauren Bacall. To celebrate the career of Mrs. Vreeland, Sarah Jessica Parker played the lively
fashion editor in the editorial, “Why Don’t You…” by Peter Lindbergh in the March, 2009 issue of Harper’s Bazaar.

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 Free as a Bird
March 18 , 2013

Dutch artist M. C. Escher’s optical illusions merged art, science and mathematics. By manipulating perspective, playing with
mathematical patterns and biological evolutions, Escher’s work defies a visual narrative, fooling the eye with multiple
perspectives that has been described as impossible structures. For his FW 2009 collection, Alexander McQueen referenced
M.C. Escher’s work along with that of Christian Dior, two artists working in the same period yet in different mediums. McQueen
looked to Dior’s signature houndstooth checks in silhouettes evoking the New Look with midi hemlines and nipped waists,
morphing the houndstooth checks into birds with expansive wings in an Escher like-manner.

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 Make Like a Tree
March 19, 2013

Penelope Tree’s beauty is commonly described as otherworldly, she herself referred to her looks as alien-like. The waif of a
model embodied the youth-centric culture of the 60s and was often photographed by Richard Avedon, whose imagery of
impossibly perfect women of the 50s transitioned to boyish gamines of the 60s, mimicking the shift in society’s ideal of beauty.
Avedon’s 1968 portrait of Tree dressed in Pierre Cardin has come to represent the spirit of the 60s and was recreated in an
editorial by Peter Lindbergh in the April, 2009 issue of Harper’s Bazaar starring Gisele Bündchen in a dress by Giorgio Armani
and necklace by Roberto Cavalli.

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 Keep in Check
March 20, 2013

Christian Dior’s debut showcase in 1947 featured an hourglass silhouette, an expansive skirt reaching just above the ankle
and a nipped waist. This style, referred to as The New Look would become a Dior signature, in addition to asymmetrical design
elements, decorative rather than functional buttons and the check of the houndstooth. This woven pattern was incorporated
into everything from suits to evening wear, even decorating the glass bottles of the Miss Dior fragrance. Newly appointed Raf
Simmons continued to look back to the roots of the design house for Dior’s FW 2013 collection, with several pieces constructed
in Dior’s signature houndstooth textile.

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 Window of Opportunity
March 21, 2013

Hitchcock’s sartorial focus, in addition to the beautiful Hitchcock blondes cast as leading ladies, make his films an obvious
source for fashion inspiration. To celebrate Tobey Maguire’s role as Nick Carraway in the upcoming Great Gatsby film by Baz
Luhrmann, Vogue featured Maguire and model Carolyn Murphy in an editorial inspired by The Rear Window. Titled, Window
Dressing, the editorial was photographed by Peter Lindbergh and featured the 50s-revival fashions that were ubiquitous across
the Fall 2013 runways.

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 Dog Walker
March 22, 2013

Described as the “master of social portraiture” by Vogue, artist and fashion illustrator René Bouché is most known for his
work at Vogue when fashion illustration was a prime method of sartorial showcase. Although the first photographed cover of
Vogue, shot by Edward Steichen, appeared in the July 1932 issue, fashion illustrations continued to grace the covers of fashion
publications throughout the 40s, waning in the 50s. Paying homage to the 1947 Bouhé cover, illustrator Brooke Costello
reinterpreted the cover in a contemporary version featuring the Spring 2013 collection of Nicolas Ghesquière at Balenciaga–
which also pays tribute to the height of Cristóbal Balenciaga’s career in post war France.

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 Ballooning
March 25, 2013

Directed by Albert Lamorisse, the 1956 short film Le Ballon rouge tells the tale of a boy, played by Lamorisse’s son, and his
animate red balloon. Capturing the spirit of childhood innocence, the beloved film has inspired countless artists and storytellers
alike. In 2009, photographer Tim Walker shot the fragrance campaign for Miss Dior Cherie, of which Sophie Coppola also
directed a short promotional video. The campaign features model Maryna Linchuk, elevated by a cluster of balloons and
seemingly suspended over the city of Paris, not unlike the final scene of Le Ballon rouge.

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 Post-Raphaelite
March 26, 2013

As one of the three founders of the Pre-Raphaelite Brotherhood, John Everett Millais, would create some of the most well
known imagery of the Pre-Raphaelites, including Christ In The House Of His Parents and Ophelia. The reform movement
looked to Quattrocento or 15th-century Italian art, producing narrative historical painting which typically featured a female
protagonist, referred to as a “Stunner.” Often reappropriating historic painting or photography into his clothing, designer Jean-
Charles De Castelbajac printed Millais’ 1851 painting, The Bridesmaid, obscured by a large, black cross, directly onto a flowing
caftan-style gown in his FW 2013 collection.

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 McQueen Elizabeth
March 27, 2013

Sarah Burton’s brief (the designer only showed 10 looks due to her taking time off for her pregnancy) yet exquisite show for
Alexander McQueen FW 2013 was laden with historical elements of costume and symbolism. In keeping with the design house’s
tendency to draw upon historical inspiration, Burton looked to ecclesiastical garb, the Ballets Russes, and specifically the
sartorial influence of Queen Elizabeth. Burton would showcase a collection entirely in black and white, two colors worn by
Queen Elizabeth to symbolize and reinforce her virginal qualities, ruff-like collars indicative of the 16th-century ruff, and Burton
would also rework the men’s 16th-century jerkin, a tunic-style jacket with a pleated skirt, onto several of the looks shown.

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 Sartorial Satire
March 28, 2013

Elizabeth Taylor and Richard Burton’s tumultuous romance developed when the couple met on set of the film Cleopatra in
1962. The suspicions and eventual discovery of the love affair was documented by the Italian paparazzi and splashed across the
pages of tabloids around the globe, consuming popular culture. In response to the widespread coverage of the romance, Richard
Avedon boldly shot a satirical fashion editorial in the September, 1962 issue of Harper’s Bazaar, mocking the famous couple.
Avedon cast model Suzy Parker and director Mike Nichols dressed in the latest fashions to portray Liz and Dick in the editorial
“Suzy Parker and Mike Nichols Rock Europe” which looked more like pages out of a tabloid than a high fashion magazine.

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 Arm of Mutton
March 29, 2013

The gigot sleeve, also called the leg-of-mutton sleeve, experienced two waves of popularity in the 19th century, much like the
bustle. The voluminous sleeves first came into popularity in the late 1820s-early 1830s, placed directly below a sloped shoulder.
The resurgence of Le Gigot occurred in the 1890s with the expanse of the sleeve placed directly at the shoulder, a sharper and
perkier sleeve than the sleeve worn in the beginning of the century. In 1988, Christian Lacroix, a designer whose design
philosophy is rooted in historical dressmaking, created a bodice with one sleeve resembling the gigot of the 1890s, perhaps a
comment on the trend of the exaggerated shoulder of the 1980s.

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 One Man’s Trash
April 1, 2013

Guy Bourdin’s ad campaigns for Charles Jourdan would often feature a pair of disembodied legs clad in little but a pair of
Charles Jourdan shoes. Bourdin’s titillating images have been a source of inspiration for countless photographers, particularly
Terry Richardson. Photographer Tim Gutt seems to have also looked to Bourdin’s work in his editorial Star Signs in Vogue UK’s
December, 2010 issue. In the editorial, Gutt photographed model Siri Tollerod in ensembles or settings representative of each
of the twelve astrological signs. Gutt’s image for Pisces featured a pair of Georgina Goodman fish scale heels and resembled a
1967 Charles Jourdan ad by Bourdin.

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 Little Green Monster
April 2, 2013

The Phillips family has produced graphics synonymous with the skate and surf culture of Southern California from the 60s to
present day and their designs decorate much of the merchandise sold by Santa Cruz Skateboards. Soon after Jeremy Scott’s FW
2013 show, the online skateboard community took to blasting Scott for his apparent use of non-licensed artwork by the father
and son design team Jim and Jimbo Phillips, which Scott printed onto several of his looks shown (see image below).

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 Everything Under the Sun
April 3, 2013

In 2003, Danish-Icelandic artist Olafur Eliasson transformed the Turbine Hall of the Tate Modern into an artificial sun-filled
space aglow with the light of hundreds of yellow bulbs that formed a semi-circle, the mirrored ceiling is what gave the light
installation a full circular appearance. Eliasson’s The Weather Project examined the dominant role that weather has played in
our lives throughout history, exploring ideas of experience, mediation and representation. Perhaps an appropriate set for the
pajama tops and bottoms in duchess satin shown at the Marc Jacobs FW 2013 show, Jacobs looked to the 2003 installation
with his own version of a large yellow morning sun.

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 Theatrics
April 5 , 2013

German born photographer Horst P. Horst built a prolific body of work photographing high society, fashion and architecture
for American and French Vogue. Submerged in the avant-garde culture of the interwar years, Horst photographed surrealist
artist Salvador Dali’s costumes for the ballet entitled Bacchanale, of which Dali designed the set, costumes and wrote the
libretto. Taking a cue from Horst’s whimsical and fantastical image, Tim Walker photographed models Olga Sherer and Alice
Gibb in the editorial It’s a Magical World for Vogue Italia’s January 2008 issue. In the image, Walker photographed similar
diaphanous puff costumes on puppet-like models propped up with crutches.

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 Serpentine
April 8 , 2013

Upon hearing that Nastassja Kinski was fond of animals, particularly snakes, Richard Avedon photographed the German
actress naked, apart from a large Burmese python coiled around her nude body. Although Avedon captured the precise moment
the snake would touch his tongue to Kinski’s cheek, Avedon does confess it was an incredibly difficult shoot. The snake could
not be positioned or guided and Kinski had to adjust her body to the snake’s unpredictable movements. To highlight the trend
of reptile skinned accessories, Antidote Magazine’s FW 2011 Corps à Crops editorial, photographed by Giampolo Sgura,
featured model Ashley Smith accessorized with shoes and handbags in reptile prints, along with a variety of actual snakes
similarly coiled on her naked body.

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 The Iron Lady
April 9, 2013

Margaret Thatcher leaves a great legacy behind as the first female and longest-serving British Prime Minister of the 20th
century. To celebrate Meryl Streep’s role as Thatcher in The Iron Lady, photographer Terry Ricahrdson photographed Georgia
May Jagger, model and daughter of Mick Jagger and Jerry Hall, dressed as Britain’s Iron Lady for the September 2011 issue of
Harper’s Bazaar.

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 Stick to Your Guns
April 10, 2013

On the eve of the 1970s, Yves Saint Laurent’s transgressive designs would propel the fashionable woman into the new decade,
dressing her in bifurcated garments with an unabashed sexuality on display. In 1968, Franco Rubartelli photographed model
and reported girlfriend Veruschka wearing a YSL front-laced Safari tunic that had been specially commissioned by Vogue Paris
for their 1968 July/August issue. In the April 2009 issue of Harper’s Bazaar, photographer Peter Lindbergh shot Gisele
Bündchen portrayed as several of the sartorial archetypes of the 20th century, recreating Veruschka’s well-known portrait to
embody the fashionable ideal of the late 60s.

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 All Dolled Up
April 11, 2013

Upon the close of WWII and the liberation of Paris, couturiers no longer had access to the textiles and supplies previously
safeguarded by the Nazis, needing a way to showcase their collections and reestablish their sartorial authority. In a city with
limited gas and heat, some 60 couturiers joined together under the direction of Robert Ricci, son of Nina Ricci, to create a
traveling exhibition of miniature dolls, all dressed in the latest couture. The exhibition was a triumph and traveled around the
globe; today a recreation of the Thèâtre de la Modes can be found at the Maryhill Museum of Art. In 2013, Harrods transformed
the store’s fourth floor Georgian Restaurant into a Dior exhibition, showcasing the brand’s history and highlighting Raf
Simmon’s continuous look back into the brand’s archives. Along with the life sized Dior gowns, the exhibition featured a theatre
of forty miniature dolls outfitted in looks that spanned from Dior’s 1947 debut to present day.

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 Qui êtes-vous, Peggy Moffitt?
April 12, 2013

If there is one model synonymous with the mod culture of the 1960s, it is Peggy Moffitt. With a five-point haircut by Vidal
Sassoon and a waif-like frame, she became the muse of 60s designer Rudi Gernreich, most known for his topless bathing suit
termed the monokini, and embodied the fashionable archetype of the youth-empowered 60s culture. In 1964, Peggy Moffitt
was photographed, presumably by her photographer husband William Claxton, dressed in a signature Gernreich ensemble of
head-to-toe navy blue vertical stripes. For Marc Jacob’s SS 2013 collection, the designer created a 60s-inspired collection with
looks resembling Bridget Riley Op-Art paintings; ensembles reminiscent of those worn in the fashion-flick Qui êtes-vous, Polly
Maggoo? directed by photographer-cum-director William Klein; and Jacobs would also pay homage to the designs of Pierre
Cardin, Mary Quant and Rudi Gernreich. Coming full circle, in Love Magazine #9, photographer Tim Walker photographed
none other than the 60s muse herself, Peggy Moffitt, in Jacob’s 2013 mod fashions.

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 The Naked Eye
April 15, 2013

In 1971, a nude Yves Saint Laurent was photographed by Jeanloup Sieff for the brand’s first male fragrance, Pour Homme.
Ironically, the provocative ad did not cause much of a stir initially, as the photo was hardly published. Today, the image has
reached an icon-status within YSL’s transgressive milieu and served as a landmark in fashion advertising; the ad was the first
fragrance campaign which starred the designer of the label and furthermore the first campaign featuring its nude, yet
bespectacled designer. Although the YSL ad promoted fragrance and not eyewear, perhaps Mariano Vivanco took a cue from
the presence of YSL’s glasses to photograph model David Gandy for Dolce and Gabbana’s FW 2011 eyewear campaign.

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 McQueen Bee
April 16, 2013

American textile and interior designer Candace Wheeler is well-known for her prolific design career within the decorative
arts and her associations with the Arts and Crafts movement of the 19th century. An advocate for women’s economic rather
than political power, Wheeler paved the way for the female designer, establishing a successful design career for herself and
serving as a role model to other women. A Wheeler-designed textile housed at The Metropolitan Museum of Art, features an all
over honeycomb bee pattern in her signature delicate yet sophisticated aesthetic. A similar textile would appear in Alexander
McQueen’s bee-themed SS 2013 collection decades later. With a swarming bee film as its backdrop, the collection showcased
beekeeper-style hats and suits constructed of a bee print textile that bears resembles to Wheeler’s 1883 design.

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 Head Over Heel-less
April 17, 2013

The heel-less or no-heel shoe, although quite modern and avant-garde in appearance, has experienced several waves of
popularity throughout history. The heel-less shoes of the Middle Ages, termed Chopines, were primarily worn by women in
Venice to elevate the wearer above her surroundings and increase her visibility amongst a crowd. Furthermore, Chopines also
functioned as shoes which raised the wearer above dirty streets, protecting her from debris and unsanitary conditions. Centuries
later, the heel-less shoe resurfaced, promoted by designers like Alexander McQueen and Olivier Theyskens for Nina Ricci and
soon became a pervasive design element adopted by many footwear designers such as Jeffrey Campbell.

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 Dial H for Hitchcock
April 22, 2013

Adapted from a single-set play, Dial M for Murder was shot almost exclusively in the living room interior of Tony and Margot
Mary Wendice, played by Ray Milland and Grace Kelly. Hitchcock reportedly chose the script for its simplicity, needing a break
from his previous, more ambitious projects, shooting the entire film in just 36 days. In 2008, Vanity Fair dedicated their March
issue to the director, paying homage to several of his films. Photographed by Norman Jean Roy, 11 scenes from Hitchcock
classics were recreated in an editorial starring contemporary actors. In the restaged Dial M for Murder scene, Charlize Theron
portrays a terrified Grace Kelly, moments before her attempted assassination.

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 Sunflower-power
April 23, 2013

It is unclear why Van Gogh produced so many works featuring the sunflower, it is thought he painted them to decorate the
room he would share with fellow impressionist Paul Gauguin. Others believe new advances in painting pigments yielded the
possibility for a more intense vibrancy in color and sunflowers were a subject which Van Gogh could showcase this. When asked
why choosing Van Gogh, the Mulleavy sisters of Rodarte responded they were inspired by the vibrant colors in the Disney classic
Cinderella and looked for another artist who utilized colors in a similar manner, coming upon Vincent van Gogh. The design
duo would print and embroider Van Gogh’s signature sunflowers and Starry Night swirls onto several of their looks in Rodarte’s
SS 2012 collection.

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 Go Through Hoops
April 24, 2013

At first glance, the cage crinoline appears constricting and oppressive to its wearer, however, the understructure was widely
adopted and met with praise in the middle of the 19th century. Previously, women achieved a great expanse in their skirts by
layering petticoat upon petticoat, ultimately weighing down the wearer. The cage crinoline, however, was light, flexible and
engineered to allow a greater freedom of movement for the wearer. The crinoline could be mass-produced, allowing for a greater
number of women to achieve the fashionable silhouette of the period. For Alexander McQueen’s SS 2013 bee-themed collection,
Sarah Burton appropriated the cage crinoline on top of, rather than underneath, the skirt. The collection featured hyper-
feminized silhouettes reminiscent of the 19th century and explored ideas of protection, veiling and constraint.

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 Black, White & Red All Over
April 26, 2013

For the November 1, 1949 issue of Vogue, Irving Penn photographed wife and model Lisa Fonssagrives, who represented the
graceful, mature female fashionable archetype of the period. The close of WWII marked a return to glamour and a heightened
femininity; this shift is exemplified in the magazine cover’s heading “Fashions for a Man’s Eye,” which represents the shift from
the empowered wartime woman dressed to serve her country to the new woman who dressed to please the man now back in
her life. Often taking cues from images of fashion photography’s past and adding his fantastical twist, photographer Tim Walker
recreated Penn’s well-known cover for the editorial “Timeless” in Vogue Italia’s December 2005 issue featuring model
Hannelore Knuts. In Walker’s version, a miniature Knuts dressed in a McQueen dress and Moschino cape is seen stepping into
the 1949 Vogue cover, quite literally representing a cover girl.

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 Pitter Pattern
April 29, 2013

Viennese Secessionist artist Gustav Klimt’s allover-patterned paintings are often reinterpreted by designers, artists and
photographers. Klimt’s 1916 painting The Dancer features his signature kaleidoscopic background, with elements of Japonisme
that seem to flow from the dancer’s flower-patterned robe. Although not considered a fashion painter, Klimt’s sartorial focus
may have resulted from his close relationship with avant-garde fashion designer Emilie Flöge. In 2007, Steven Meisel looked
to Klimt in photographing the editorial ”Vogue Patterns” for Vogue Italia’s December 2007 issue which featured models Lara
Stone, Meghan Collison, Kinga Rajzak, Maryna Linchuk, and Hanne-Gaby Odiele dressed, covered in and set against swirling
prints and patterns.

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 Free as a Bird
May 1, 2013

Pioneer in modern art, Georges Braque began his career as an impressionist, later evolving to fauvism in the early 1900s and
finally cubism by 1909. Along with Picasso, Braque was responsible for creating art with simultaneous, geometric perspectives
which would come to be known as cubism. Later in his life, Braque’s style would shift once more, to a simple, more reduced
aesthetic with an emphasis on form. In 1953, Braque was commissioned to the paint ceiling panels of the Louvre’s Henri II
room, creating the L’Ordre des Oiseaux or The Order of Birds. Birds had occupied a lingering presence in several of Braque’s
early work and later became his signature. In 1988, designer Yves Saint Laurent paid tribute to Braque by featuring Braque-
style birds which decorated several looks in his Spring/Summer collection.

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 Safety First
May 2, 2013

In celebration of The Metropolitan Museum of Art’s upcoming Punk: From Chaos to Couture exhibition, today’s punk-themed
comparison proves the Met’s thesis: That when it comes to its influence on high fashion and couture, punk is most certainly not
dead. A dress from Gianni Versace’s collection was immortalized in 1994 when then-budding star Elizabeth Hurley wore it to
the London premiere of the film Four Weddings and a Funeral. The dress catapulted Hurley into the public’s eye and the dress
itself became a sensation, complete with its own Wikipedia page. The Versace gown represented a reapproproiation of punk
design elements into a high fashion context and will be on display at the upcoming exhibition. Punk’s DIY slash and safety-
pinned concept was transformed into a slinky, black gown revealing almost as much flesh as it concealed, with gold and silver
toned safety pins clasping the high slits. In 2012, Lady Gaga was seen wearing the same Versace dress–and it caused almost as
much a stir and looked just as current and fresh as it did back in 1994–reinforcing punk’s timeless influence on high fashion.

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 I’m a Mouse–Duh.
May 3, 2013

Transgressive German photographer Helmut Newton, established a prolific body of work in his signature voyeuristic style
that changed the landscape of 20th-century fashion photography. Intimate friends with model and jewelry designer Elsa Peretti,
Newton would often privately photograph her nude. However, Newton did not publish any of these nude photographs at
Peretti’s request, who jokingly insisted he wait until the death of her father before they be released. In 1975, Newton did publish
an image of Peretti in a play boy bunny ensemble by Halston, set against the backdrop of a gleaming New York skyline. For the
March 2010 issue of Vogue, photographer Mario Testino recreated the Newton shot, swapping Elsa Peretti for Tina Fey and the
ears of a bunny with Mickey Mouse-like ears.

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 A Leg Up
May 9, 2013

Guy Bourdin’s titillating images often featured scantily dressed models in provocative poses and environments, injecting a
raw, borderline-agressive sexuality into his photographs. Guy Bourdin is most-known for his ad campaigns for Charles Jourdan,
of which he shot exclusively from 1972 – 1981. These campaigns regularly featured a pair of disembodied legs clad in little but
a pair of Charles Jourdan shoes. In photographing the footwear campaign for Aldo, Terry Richardson undoubtedly looked to
Bourdin, following his signature pictorial format of a pair of bodiless high-heeled legs.

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 Bathing Beauties
May 10, 2013

Along with Cecil Beaton, Norman Parkinson was one of the most well-known English photographers of the 20th century.
Parkinson favored natural light as opposed to artificial studio light, and would often photograph his models outside, showcasing
New York, London and Parisian sights alongside the fashion. Later in his career, Parkinson focused on portrait photography,
capturing the lives of high society and eventually becoming the royal portrait photographer for the British Monarchy in 1975.
In 1960, Parkinson photographed model Nena von Schlebrügge (Uma Thurman’s mother) whom he is credited with discovering
in Stockholm in 1955, behind glass doors in a one piece bathing suit for Queen magazine’s October issue. For the Fall 2012
Morena Rosa Beach campaign, photographer Jacques Dequeker photographed model Isabeli Fontana dressed in a bathing suit
and similarly placed behind a glass window that captured a view of the pool in its glare.

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 Monokini Revived
May 14, 2013

In 1964, 60s designer Rudi Gernreich, debuted his “monokini,” or topless bathing suit, which consisted of a black wool knit
suit with suspenders that exposed the breasts. Gernreich’s revealing suit caused a sensation, immortalized by William Claxton’s
photograph of Peggy Moffitt modeling the risky look, and Gernreich reportedly sold 3,000 monokinis by the end of the season.
Nasty Gal’s 2013 summer swimsuit offerings include a one piece bathing suit that references the 1964 monokini while
maintaining coverage of the breasts, allowing women to emulate the mod look without the high shock-value.

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 Belle of the Ball
May 16, 2013

In 1948, Cecil Beaton’s well-known photograph of Charles James dresses was featured in Vogue’s June 1 issue to celebrate the
designer’s artful use of color. James is associated with an erratic temperament and fiscal irresponsibility, nonetheless, the
designer is lauded for his masterful designs. Specializing in eveningwear, his biomorphic silhouettes were both contemporary
and historical, as James would often design dresses in cutting edge sculptural forms that referenced rigid 19th-century
understructures. To celebrate the rise of Asian models on the runway, Steven Meisel recreated Beaton’s 1948 image in Vogue’s
December 2010 issue, photographing a crop of Asian models that included Du Juan, Tao Okamoto, Hyun Yi Lee, Hyoni Kang,
Liu Wen, Bonnie Chen, So Young Kang, and Lily Zhi all dressed in Oscar de la Renta whilst sporting punk-style mohawks.

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 Strike the Right Note
May 17, 2013

Iconoclast designer Elsa Schiaparelli is most remembered for infusing a sense of wit and irony into her designs in her signature
surreal aesthetic. Schiaparelli’s Fall 1939 music-themed collection showcased music, quite literally, with buttons shaped as
drums, music notes embroidered on diaphanous gossamer textiles and music boxes designed into belts and hats. This particular
dress, owned by Heiress Millicent Rogers and housed at the Costume Institute at the Met, features musical notes and symbols
embroidered in metallic thread on organza, paired with a belt designed with a working music box as the buckle. Dolce and
Gabbana’s Fall 2011 collection, inspired by David Bowie and Janelle Monáe, similarly represented music through the visual
motif of musical notes printed onto a dress.

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 Shop Artist
May 20, 2013

Before establishing himself as a famed pop artist, Andy Warhol would find work as a successful commercial artist for clients
including Glamour, Harper’s Bazaar, NBC, Tiffany & Co. and Vogue. On the eve of the 1960s, which saw the production of many
of Warhol’s most well known works, Warhol created Female Head with Stamps in 1959. For Christian Dior’s FW 2013 collection
by Raf Simons, the brand collaborated with The Andy Warhol Foundation, allowing Dior to print and embroider several of
Warhol’s lesser-known fashion illustrations directly onto clothing and accessories within the collection. This collaboration
speaks of Mr. Christian Dior’s career as an art gallerist along with his promotion of graphic artist René Gruau.

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 Sir Realist
May 21, 2013

Belgian artist René Magritte toyed with perspective and reality, creating surreal works through real, ordinary settings and
mundane objects. In his 1953 painting Golconda, Magritte replicated and multiplied male figures suspended midair likening
them to raindrops and exploring ideas of the tension between individuality and group identification. Paying homage to
Magritte, photographer Andrew Matusik shot a Magritte-themed editorial for Genlux Magazine’s Winter 2008 issue, recreating
Golconda with female figures.

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 Less is Moore
May 22, 2013

Rather than paint the mythological nude, Neoclassical painter Ingres depicted the exotic nude in his 1813 painting, La Grande
Odalisque. Commissioned by Napoleon’s sister and the queen of Naples, Caroline Murat, the famous nude depicted an
odalisque or concubine amongst rich, exotic textiles and accessories such as the turban and peacock fan which were meant to
evoke the orient. Although anatomically disproportionate, Ingres’ figure disregarded reality in favor of a long, sinuous curve
created by the female figure whose naked body is evenly bathed in light. Reportedly inspired by the porcelain-like skin of
Julianne Moore, photographer Michael Thompson recreated the nineteenth-century nude with Moore as the harem girl for
Vanity Fair’s April 2000 issue.

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 New Blood
May 24, 2013

Guy Bourdin’s borderline morbid images are thought to be the result of the photographer’s childhood, abandoned by his
mother at a young age, coupled with a string of relationships with suicidal women, his wife is thought to have committed suicide,
one girlfriend hung herself and another attempted with slashed wrists. Nonetheless, Bourdin’s provocative images which
portrayed inanimate, lifeless women as dead or bleeding victims were published in French Vogue and served as Charles Jourdan
ad campaigns. This is perhaps due to Bourdin’s hyperreal aesthetic and saturated colors that seemingly discredit the image’s
believability, such as Bourdin’s 1980 image for Pentax Calendars. Bourdin works are continuously referenced and recreated as
seen in Venfield 8′s 2013 homage to Bourdin entitled, Vehicular Bourdin.

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 Two-Faced
May 28, 2013

German photographer Erwin Blumenfeld’s Dada background is evident in his collage-like images and photographic
manipulations. For the cover of Vogue’s November 1, 1944 issue, Blumenfeld aimed to represent the void in the 1940s woman’s
life, created by her husband off at war. The photographer placed a profile of a male silhouette directly on top of the cover girl
to suggest that a piece of her, or her “better half,” is missing. In photographing model Moa Aberg for a 60s-inpired beauty
editorial, photographer Camilla Åkrans seemingly looked to or was inspired by Blumenfeld’s 1944 cover, only replacing the
male silhouette with a profile of Aberg herself in Vogue Italia’s March 2013 issue. Perhaps Åkrans means to say that the 60s
woman did not look to men for fulfillment, she herself can fill the void.

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 Reach for the Sky
May 29, 2013

Born Arthur Kanofsky, Art Kane was an Art Director-turned photographer in the second half of the 20th century. A protégé
of famed Art Director Alexey Brodovitch, Kane would make the transition in 1958 after gaining recognition for a jazz-themed
editorial he photographed for Esquire magazine. Kane would come to be known for his portraits of musicians and celebrities
along with his fashion editorials. In 1970, Kane photographed a model for Harper’s Bazaar UK on the beaches of Cornwall,
distorting the perspective so that the model appears as though she is displaced, elevated above the sky. For T Magazine’s Travel
Winter 2009 Issue, photographer Camilla Åkrans recreated Kane’s 1970 image with model Arlenis Sosa on the beaches of
Tobago.

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 Drown Your Sorrows
M a y 31 , 2 0 1 3

As one of the three founders of the Pre-Raphaelite Brotherhood, John Everett Millais, would create some of the most well-
known imagery of the Pre-Raphaelite movement which looked to Quattrocento or 15th-century Italian art. Shakespeare often
served as inspiration to the Pre-Raphaelites, famously depicted in Millais’ 1851-52 painting Ophelia which portrays
Shakespeare’s tragic figure of Ophelia from Hamlet Act IV, Scene vii. In this scene, Ophelia is driven out of her mind after
learning her father was murdered by her lover Hamlet and she is found dead in a stream. For Jean-Charles De Castelbajac’s
FW 2013 collection, the designer reappropriated several Pre-Raphaelite paintings in his collection, including Millais’ Ophelia.

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 Blow by Blow
June 3, 2013

Credited with discovering and nurturing the careers of Alexander McQueen, Philip Treacy, Stella Tennant and Sophie Dahl,
Isabella Blow’s influence on fashion is still felt today. Outlandish and often times borderline-garish, Isabella Blow was a true
fashion eccentric known for her whimsical hats and surreal accessories that appropriated the mundane and unusual. Despite
her role in fashion, Blow was not without her demons; after a string of unsuccessful suicide attempts, Blow would eventually
poison herself in 2007. In 1998, Mario Testino photographed Blow dressed in an octopus hat and lobster necklace by Philip
Treacy which referenced Salvador Dalí and the surrealists. Years later, Lady Gaga would wear a similar lobster hat by the same
designer in February of 2010, perhaps paying homage to Blow.

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 Shrimpy
June 5, 2013

Richard Avedon, who would revolutionize fashion photography through his dynamic, active images, often incorporated
elements of dance and theatrics into his photographs. In 1970, Avedon photographed model Jean Shrimpton in an evening
dress by Pierre Cardin that billowed with her swift movements. In the April 2009 issue of Harper’s Bazaar, photographer Peter
Lindbergh shot Gisele Bündchen portrayed as several of the sartorial archetypes of the 20th century, recreating Avedon’s 1970s
photograph with Gisele in a hooded Roberto Cavalli gown.

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 Sharing Haring
June 6, 2013

Keith Haring began his short career in 1978, producing paintings, sculptures and murals in his signature cartoon-like graphics
until his premature death in 1990. Haring’s philosophy to enhance the accessibility of his art was reinforced by his Pop Shop, a
store which carried Haring memorabilia, home goods and clothing all featuring Haring’s signature designs. Like Haring,
countless fashion designers have co-opted Haring motifs into their clothing designs such as a Jean-Charles Castelbajac’s dress
from his SS 2002 collection which featured Haring’s Radiant Child motif.

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 Genealogy
June 7, 2013

Fashion has often drawn inspiration from the street and this is most evident in high fashion’s adoption of the utilitarian,
workman’s denim. The designer-branded jean was first introduced in the late 70s, spearheaded by brands like Gloria
Vanderbilt, Jordache and Calvin Klein; even New York’s infamous nightclub Studio 54 branded a line of jeans with the tagline,
“Now Everyone Can Get into Studio 54.” However, no campaign would propel the jean to high-fashion status more than Richard
Avedon’s 1980 campaign starring a then fifteen-year-old Brooke Shields declaring that nothing comes between her and her
Calvins. For Radar Magazine’s September 2008 issue, photographer Gavin Bond recreated the famous denim campaign with
Kim Kardashian.

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 Worth While
June 10, 2013

The House of Worth is considered the most influential and widely-recognized house of the nineteenth century. Founded in
1858 by English designer Charles Frederic Worth, it is often suggested that the couture house produced its best work under the
helm of Gaston-Lucien and Jean-Philippe, Worth’s sons. An exquisite dress designed by Charles Frederic’s successors and dated
at 1898-1900, showcases Art Nouveau’s influence on fashionable dress of the period. The S-curved gown features swirling curls
of black velvet woven onto a ground of white satin; the black tendrils emulating the vogue for decorative ironwork popularized
in Art Nouveau design. For Valentino’s Spring 2013 couture show, designers Maria Grazia Chiuri and Pierpaolo Piccioli cited
secret gardens and wrought irons gates among their sources of inspiration, showing a diaphanous white gown paired with a
floor-length tulle cloak with embroidered black “ironwork.”

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 2x2x2
June 11, 2013

Swedish-born photographer and author Eric Boman is most known for his books on Manolo Blahnik and Iris Apfel, however,
before Boman became a published author, his editorials filled the pages of international editions of Vogue throughout the 70s,
80s and 90s. Today, Boman continues to photograph for Vogue, focusing on society portraiture. In Vogue UK’s May 1974 issue,
Boman photographed model Pia Frithiof dressed in bathing suits while soaking in a bathtub of colored water. For Interview
Magazine’s June/July 2013 issue, photographer Robbie Fimmano seemingly looked to Boman’s 1974 editorial, photographing
model Frida Gustavsson in a variety of one-piece bathing suits similarly positioned in a bathtub.

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 The Former and The Ladder
June 13, 2013

Perhaps making a nod to Harper’s Bazaar’s insertion of the letter “A” into the magazine’s name, (Harper’s Bazaar was formerly
known as Harper’s Bazar from 1867-1930), Richard Avedon photographed model Dovima, ascending a ladder carrying the letter
A for the magazine’s December 1959 issue. Paying homage to the Avedon cover, photographer David Slijper cast Anne Hathaway
to play Dovima, climbing up the steps of a ladder similarly carrying an A to represent the name change in the subscriber cover
of Harper’s Bazaar UK’s February 2013 issue.

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 Flower Girls
June 14, 2013

In 1955, English photographer Norman Parkinson, who documented the glamorous Golden Age of Couture in his postwar
images, photographed Audrey Hepburn in a light pink day dress, positioned in front of a background of fuchsia-colored flowers.
Perhaps referencing the Parkinson image, with or without the intent of positioning Natalie Portman as a modern day Hepburn,
Tim Walker photographed Portman similarly dressed in a pale pink Dior dress, standing in front of a wall composed of flowers
in various hues of pinks for Miss Dior Cherie’s 2013 fragrance campaign.

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 Raise The Bar
June 17, 2013

In the spring of 1947, Christian Dior presented his debut collection, unknowing of the impact he would make on the history
of fashion. Although this look was not exclusive to Dior’s collections, (Cristobal Balenciaga and Lucien Lelong had featured
similar silhouettes in their collections) and versions of the new silhouette had appeared in the couture collections of 1945 and
1946, it was at Dior’s 1947 fashion show that The New Look style was identified with Dior as its major proponent. The most
well-known ensemble of the collection was the Bar Suit, which has taken on a life of its own since its creation. For Dior’s first
issue of Dior Magazine, photographer Jean Baptiste Mondino photographed Marion Cotillard in the famous suit, straight
from the archives of Dior.

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 Cut to the Chaise
June 19, 2013

German born photographer Horst P. Horst built a prolific body of work photographing high society, fashion and architecture
for American and French Vogue. The year Horst would meet Gabrielle Chanel, he took the most memorable and well-known
image of the fashion designer’s life. Although taken years earlier in 1937, the portrait was first published in the February 15,
1954 issue of Vogue. In 2008, photographer Cathleen Naundorf paid homage to the Horst portrait by photographing designs
by Chanel’s successor Karl Lagerfeld in a similar composition. Set in Chanel’s Parisian apartment at 31 Rue Cambon, Naundorf
similarly positioned a Chanel-clad model on a chaise lounge, just as Chanel herself had done years ago.

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 Le Smoke and Mirrors
June 21, 2013

When the miniskirt failed to shock, Algerian born Yves Saint Laurent opted to conceal rather than expose the female figure
in his Le Smoking ensemble of 1966. With no flesh on display, the shock-factor would lie in the transgressive gender-bending
suit, directly borrowed from menswear and positioning the wearer in a liminal state between the male and female gender. The
most well known image of the suit was photographed by Helmut Newton in 1975 for French Vogue and featured a pair of
women; one alpha-model assuming a role of power dressed in Le Smoking standing beside a nude and seemingly effeminate
model. YSL’s 2013 Baby Doll mascara video campaign followed a rambunctious Cara Delevingne with a brief scene featuring
the model suited up in Le Smoking and standing opposite a nude female model, much like the well-known Newton photo.

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 Twin Triplets
June 24, 2013

In 1939, Horst P. Horst photographed models Bettina Bolegard, Helen Bennett and Muriel Maxwell for Vogue‘s November 1st
Vanity Issue. Horst would often infuse his imagery with elements of surrealism, playing with perspectives and proportions, as
seen in his 1939 birds-eye-view-style cover. In photographing a trio of Twilight stars, photographer Norman Jean Roy paid
homage to the Horst cover with his own version featuring Dakota Fanning, Ashley Greene and Bryce Dallas Howard for Vanity
Fair UK’s July 2010 issue.

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 From Top to Bottom
June 26, 2013

In 1964, 60s designer Rudi Gernreich, debuted his “monokini,” or topless bathing suit, which consisted of a black wool knit
suit with suspenders that exposed the breasts. Gernreich’s revealing suit caused a sensation, immortalized by William Claxton’s
photograph of Peggy Moffitt modeling the risky look, and Gernreich reportedly sold 3,000 monokinis by the end of the season.
For Allure magazine’s July 2009 issue, photographer Michael Thompson restaged the famous photo with Fergie posed as
Moffitt in a similar topless suit designed by Yigal Azrouël.

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 Bee-Stung
June 27, 2013

Irving Penn’s expansive oeuvre is comprised of masterful fashion, celebrity and still-life photography built over an outstanding
seven decade career. Towards the end of the photographer’s enduring career, Penn would produce a greater number of beauty
shots and still-lifes, such as his 1995 image Bee (A), a variant of the more well-known imageBee on Lips. Perhaps contributing
to the debate on Lana Del Rey’s suspiciously plump lips, of which she denies artificial enhancement, photographer team
Sean+Seng photographed a bee perched on Del Rey’s full lips for Interview Russia’s February 2012 issue, much like Penn’s
famous image.

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 Sour Grapes
July 1, 2013

Patron to designer Charles James, heiress Millicent Rogers would often commission pieces by James, however, many of these
pieces were more collaboration than commission as the socialite was known to request specific fabrics, colors and silhouettes
from the master designer. In 1944, the two worked together to create an off-white silk chiffon gown featuring tiny florets that
resembled a grape cluster. In 2009, Vivienne Westwood’s diffusion line Anglomania showcased a crisp white day dress also
printed with the grape cluster motif.

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 Under the Table
July 2, 2013

While on assignment in Lima, Peru, Irving Penn would photograph model Jean Patchett on her first Vogue assignment for
the editorial, “Flying Down to Lima.” Penn’s well-known image of the then 22-year-old model was reportedly taken candidly,
as Patchett awaited the next scene, unknowing of the camera upon her. In 2009, Steven Meisel would recreate the famous photo
for Vogue’s May 2009 issue in the editorial, “The Great Pretender,” starring model, Natalia Vodianova.

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 Out to Lunch
July 4, 2013

Originally titled Le Bain, Edouard Manet’s Le déjeuner sur l’herbe or Luncheon on the Grass, was debuted in 1863 to rather
mixed reviews ranging from laughter to outrage. Although Manet’s titillating picnic scene was in reference to Titian’s 16th-
century painting Concert champêtre, which featured a similar composition of nude females amongst dressed men, Manet’s
figures where not represented in a mythological or allegorical manner. In Manet’s version, the men are dressed in contemporary
fashions of the period, suggesting a jarring realism. Manet’s famous painting has been referenced by countless artists and
photographers since its debut and continues to inspire to this day. In 2013, Dutch photographer team Inez van Lamsweerde
and Vinoodh Matadin recreated the famous scene for Christian Dior’s Fall 2013 campaign video, “Secret Garden 2 — Versailles,”
a sequel the previous year’s “Secret Garden” video.

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 Body Art
July 5, 2013

Vogue’s June 1st, 1940 issue, dedicated to swimwear styles of the season, featured model Lisa Fonssagrives dressed for the
beach and positioning her body to form the letter “V” for Vogue. Photographed by German photographer Horst P. Horst, the
image incorporates elements of surrealism and dadaism, both movements which had a significant impact on the photographer’s
work. To celebrate British Vogue’s 75-year run, the magazine paid homage to the 1940 cover with their own version in 1991.
Photographed by Tyen, model Yasmeen Ghauri who dressed in a metallic bodysuit by Karl Lagerfeld, also configured her body
into letters to spell out the word “Vogue.”

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 Make A Point
July 8, 2013

From 1300-1450, the Poulaine style shoe, which featured an exaggerated caricature-like point, was in vogue for nearly 150
years. The extreme tips were often stuffed with miscellaneous findings in order to maintain a shaped point, which extended far
beyond the end of the wearer’s foot. The Poulaine shoe would fall out of fashion by the mid 15th century, however, would
resurface decades later in the mid 20th century as the preferred footwear style of teddy boys or neo-dandies of the 1950-60s. A
video from the British Pathe showcases the 1960s designer designer Stan Bartholomeu looking to medieval footwear styles in
designing the 20th century version, termed the winklepicker. Today, the winklepicker is a ubiquitous style amongst
contemporary footwear styles and even promoted by high fashion as seen in Hedi Slimane’s latest Spring 2014 Men’s show.

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 Raise your Eyebrow
July 9, 2013

Iconoclast designer Elsa Schiaparelli is most remembered for infusing a sense of wit and irony into her designs. The House of
Schiaparelli did not cease to exist during the occupation of Paris, however, during this period Schiaparelli herself was in New
York and left the designing to her associates who remained in Paris. In 1944, Schiaparelli made her return to Paris to much
acclaim and would continue to design until 1954. A photo from 1949 depicts the Schiaparelli eyebrow hat, a red satin cap with
a brim that droops, obstructing the face save for an eye-hole. For Vogue Italia’s February 2012 cover, photographer Steven
Meisel photographed model Laura Kampmann wearing a similar hat by Ellen Christine Millinery.

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 Sister Act
July 11, 2013

At the turn of the century, high society would clamor for a portrait by John Singer Sargent, however, this was preceeded by a
brief period in which the painter was thought an unsafe choice after his controversial portrait of Madame X in 1883-84. Moving
from Paris to London facilitated in Sargent’s transition from a position of notoriety to one of high demand. In 1900, Sargent
was commissioned to paint Hon. Percy Wyndham’s three daughters Madeline Adeane, Pamela Tennant, and Mary Constance,
Lady Elcho in their London home on Belgrave Square. The painting was praised when showcased at the Royal Academy’s annual
exhibition in 1900, and dubbed “The Three Graces” by the Prince of Wales. In 1950, Cecil Beaton photographed three
descendants of the Wyndham sisters, also sisters themselves, modeling the portrait after the Singer Sargent painting.

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 Driving Shoes
July 12, 2013

Foot-model cum shoe designer Beth Levine is considered one of the most influential footwear designers of the 20th century.
Although her name is somewhat forgotten, Levine’s impact on fashion was immense, unlike her size-4 foot. Designing under
her husband’s name, Herbert Levine, Beth’s designs were conceptual and often times ironic. Levine’s contributions to fashion
include her patented Spring-o-lator shoe, the topless ‘No’ shoe and most notably, Levine outfitted singer Nancy Sinatra in a
pair of white go-go boots immortalized by her classic 1966 song, “These Boots are Made for Walkin’.” In 1965, the Herbert
Levine label released the “racing car shoe,” constructed of clear, colored and mirrored vinyl, pieced together to resemble a
miniature race car. For Prada‘s Spring 2012 collection, the designer would also look to the automobile in designing a collection
that waxed nostalgia for the 50s, presenting hot rod heels complete with headlights and chrome.

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 Channeling Chanel
July 15, 2013

Considered somewhat of an enigma in the fashion industry, photographer Steven Meisel is notorious for abstaining from
interviews and shying away from the camera, unless of course, he is behind the lens. In 1988, Meisel shot his first cover for
Vogue Italia, beginning a long relationship with the magazine– Meisel would continue to exclusively photograph covers for the
following two decades. In 1992, Meisel photographed model Kristen McMenamy dressed in Chanel wares paired with jeans for
the magazine’s May issue. In 2009, former Vogue Paris editor-in-chief Carine Roitfeld dedicated the March issue to Chanel,
with model Iris Strubegger similarly styled in a Chanel tank and jeans, shot by photographer duo Mert and Marcus.

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 Apple of My Eye
July 17, 2013

Belgian artist René Magritte toyed with perspective and reality, creating surreal works through real, ordinary settings and
mundane objects. The apple had a lingering presence within Magritte’s oeuvre, as did the suit-clad man topped with a bowler
hat. In his 1964 work The Son of Man, the painter depicted a commonplace scenario of a suited man, however, placed an apple,
somewhat unnervingly, directly in front of the unknown’s visage, obstructing his face. For Vogue Italia’s December 2006 issue,
photographer Tim Walker playfully restaged a Magritte-like image, opting for a flower rather than Magritte’s ubiquitous green
apple to mask the face of model Guinevere van Seenus.

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 Play With Fire
July 18, 2013

In 1952, Revlon introduced their striking Fire and Ice campaign photographed by Richard Avedon. Starring Dorian Leigh, the
ad debuted the cosmetic brand’s latest pairings of matching “lips and tips” shades for those women “who love to flirt with
fire…who dare to skate on ice.” Set against writer Kay Daly’s cheeky copy, the ad was the most talked-about campaign of its
time, winning Advertising Age’s Ad of the Year accolade and subsequently dubbing Leigh the Fire and Ice girl. In the Avedon-
shot campaign, Leigh was reportedly swathed in an unfinished Norman Norell-style mermaid gown, with sequins stopping just
short at the back of the dress due to the meticulous hand-sewn sequin process which took longer than expected. The glittering
gown, meant to evoke ice, was topped with an expansive fiery-red cloak copied from a Balenciaga original–a practice not
uncommon in American fashion of the period. In 2010, Revlon rereleased three lip and tip pairings, celebrating with a campaign
by Mario Testino that restaged the sensational 1952 ad with Jessica Biel standing in as Dorian Leigh.

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 Nailed It
July 19, 2013

A contemporary of Salvador Dalí and Jean Cocteau, Elsa Schiaparelli’s transgressive designs were often the result of a direct
collaboration with the surrealists. Schiaparelli’s August 1936 collection, designed alongside Salvador Dalí, featured suits with
pockets that resembled miniature bureau drawers, paired with black suede gloves adorned with red patches of snakeskin to
suggest the red colored nails underneath the gloves. In 2009, Commes des Garçon released a selection of loafers, that seemingly
revealed the contents underneath the shoe, also showcasing red-painted nails.

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 Ladies’ Man
July 23, 2013

Richard Avedon was a man of many “firsts,” photographing Steve McQueen for the February cover of Harper’s Bazaar in
1965, a cover that would serve as the first instance in which a man was featured on the cover of a women’s fashion magazine,
albeit, 60s model Jean Shrimpton does make a cameo with her bracelet-stacked arm snaked around McQueen. In 2010, GQ
Australia dubbed Ryan Kwanten the Man of the Year, celebrating with a cover story photographed by David Slijper after
Avedon’s 1956 cover.

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 Seeing Red
July 24, 2013

Vivacious fashion editor of Harper’s Bazaar, editor-in-chief of Vogue and Curator at the Costume Institute, Diana Vreeland
is often referred to as the Empress of Fashion. Under the direction of Diana Vreeland at Vogue, German photographer Horst P.
Horst began photographing high society within their living spaces throughout the 60s–including Mrs. Vreeland herself. To
celebrate the career of Mrs. Vreeland, Sarah Jessica Parker played the lively fashion editor in the editorial, “Why Don’t You…”
by Peter Lindbergh in the March, 2009 issue of Harper’s Bazaar.

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 Swan Lake
July 26, 2013

In 2001, Icelandic artist Björk wore what has now become one of the most infamous red carpet dresses. Designed by
Macedonian Marjan Pejoski, the frock referred to as the “swan dress,” was meant to symbolize fertility, a notion further
reinforced by Björk as she left a trail of eggs down the red carpet. While most viewed the dress as outlandish, perhaps it was
not so unfamiliar to our eyes. A few years earlier in 1997, Annie Leibovtiz photographed then-budding actor Leonardo DiCaprio
seemingly cuddling a swan that has looped its neck around that of the handsome film star for Vanity Fair.

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 Flowers and Perfume
July 29, 2013

As Artistic Director of Advertising at Christian Dior, Gruau’s illustrations helped to define the beauty ideals of the period,
creating imagery of the Dior woman from the inception of the label well into the 70s and 80s. In 1971, Gruau’s campaign for
Miss Dior Cherie featured a first-ever male lead, carrying an oversized bouquet presumably to gift along with the fragrance. In
2011, photographer Koto Bolofo looked to Gruau’s work in creating his own fragrance campaign for CH L’eau by Carolina
Herrera, however, Bolofo would opt for Rasa Zukauskaite instead of a tuxedoed man, perhaps suggesting women no longer
need a man to buy a fragrance.

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 How the Leopard Got Its Spots
July 30, 2013

Although his work often made up the pages of Vogue, William Klein rejected the label of fashion photographer, perceiving
the association limiting and misrepresentative. Klein was also a painter, filmmaker and photographer with a somewhat cynical
view of fashion; in 1966, Klein’s would famously satirize the cult of fashion in his film Qui êtes-vous, Polly Maggoo. In spite of
this, Klein would go on to produce remarkable fashion imagery. For Vogue‘s July, 1 1967 issue, Klein would photograph the
self-proclaimed ”exotic” model Veruschka alongside a chained cheetah to showcase two trends of the season: chains and animal
skins. For Vogue Latin America‘s June 2013 issue, photographer Nagi Sakai celebrated the German model’s career by restaging
several of her most well-known images with model Mirte Maas.

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 A Close Shave
August 1, 2013

In the midst of the second wave of feminism, famed Esquire Art Diretor George Lois questioned gender roles, playfully
conjuring up the vision of a beautiful woman, lathered up in shaving cream, razor in hand. Photographer Jean-Paul Goude was
appointed to execute Lois’s vision, starring the Italian Actress Virna Lisi. Commonly misidentified as Marilyn Monroe, despite
the fact that Monroe had passed three years earlier, Lisi was reportedly instantly onboard with the project despite its
unflattering nature–Hitchcock blond Kim Novak’s publicist is said to have hung up on Lois after hearing his proposed cover.
To celebrate the 75th Anniversary of the magazine, Esquire would look to their June 1965 issue, photographing a similarly
coiffed Jessica Simpson mid-shave for the May 2008 issue.

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 An Old Flame
August 5 , 2013

Georges de La Tour revisited the subject of the Penitent Magdalene at least four times throughout his career, all with subtle
variations and slight compositional nuances. In La Madeleine à la veilleuse, housed at The Louvre, de La Tour depicted a
barefoot Magdalene aglow in the light of the flame in which she stares, seemingly meditating. Vanitas themes typified by the
skull in her lap and the small ephemeral flame represent life’s fragility. For Christian Louboutin’s FW 2011 lookbook campaign,
photographer Peter Lippmann recreated several of history’s most well-known works of art, including and perhaps likening the
red Louboutin sole to a work of art.

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 Eye to Eye
August 6, 2013

Under the direction of Editor-in-chief Ailsa Garland, Vogue UK disseminated the aesthetic of the new century with a magazine
that captured the landscape of Swinging London. The magazine’s September 1, 1961 issue pictured prominently made-up eyes,
fresh colors and a youthful, mod sensibility. Years later, the Vogue UK 1961 cover was recreated on a poster for Pedro
Almodóvar’s 1988 film Mujeres al borde de un ataque de nervios.

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 Moved to Tiers
August 9, 2013

A precursor to the contemporary crop of limited edition, collectable publications, La Gazette du Bon Ton, or the Journal of
Good Taste, boasted hand-colored fashion plates and exclusive designer features at the steep annual subscription fee of 100
francs per year for the monthly publication. Along with the designs of couture houses Redfern, Doucet and Pacquin, orientalist
designs by Paul Poiret were a frequent feature in the journal. Often times the fashions found in the Gazette were fanciful
creations by illustrators like Georges Lepape, rather than literal translations of existing garments. Lepape’s fantastical fashion
plate in 1914 depicts a Poiret dress in the style of the Sun King’s manicured garden’s. For their SS 2010 collection, Vikor and
Rolf would design a similar dress that explored concepts of cutting down, shaving and trimming–taking a chainsaw to tulle.

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 Tower Above Them All
August 12 , 2013

In 1939, Erwin Blumenfeld photographed a reportedly unharnessed Lisa Fonssagrives whose Lucien Lelong dress billowed in
the winds atop the Eiffel Tower. The location for the French Vogue photo shoot was strategic, chosen in celebration of the
monument’s fiftieth anniversary. Soon after Blumenfeld’s photograph, the city would see the havoc and ravages of war and the
image served as remembrance of a former city. In 2008, Marion Cotillard was plucked to head the Lady Dior campaign, with
ads that feature the French actress toting the prim bag around the world. For the Spring 2009 campaign, photographer Peter
Lindbergh would also ascend the Parisian landmark, photographing Cotillard perched (undoubtedly more secure than
Fonssagrives) atop the Parisian Landmark.

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 Under Lock and (Piano) Key
August 14, 2013

Music is a frequent source of inspiration for designers and is often manifested quite literally through music notes, F-holes
and piano keys. In 1985, Karl Lagerfeld looked to the monochromatic piano when designing a cocktail dress for Chanel which
featured panels of black silk “piano keys” appliquéd onto a white pouf skirt of organza. Taking a slightly less abstract take on
the piano key dress, a few years later Franco Moschino would design a pleated black dress for Moschino Cheap and Chic with
trompe l’oeil piano keys for pleats. The dress would also reappear in the brand’s 2014 Resort collection.

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 The Imperial Crown
August 15, 2013

According to imperial dress codes under the Qing Dynasty, court officials and bureaucrats would don required red caps known
as “Rites Hat.” Two styles of the hat were worn, the Nuan Mao and the Liang Mao, the former reserved for summer, consisting
of a conically shaped red cap and the latter worn during winter featuring a black fur brim as pictured in Emperor Xianfeng’s
portrait c. 1855. For his Fall 2012 collection, designer Jason Wu looked to his Chinese heritage, incorporating elements of
Chinese traditional dress into his ready to wear collection.

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 Chaise Lounging Around
August 16, 2013

Under the moniker of Horst P. Horst, German born Horst Paul Albert Bohrmann would photograph the beau monde and
Parisian café society of the interwar years. The year Horst would meet Gabrielle Chanel, he took the most memorable and well-
known photograph of the fashion designer’s life; an image that came to typify the elegance and enigmatic nature of the designer.
Flouting the composition of traditional portraits, Chanel avoided a direct gaze with the camera, much like she did with inquiries
on her childhood and upbringing. Although taken years earlier in 1937, the portrait was first published in the February 15, 1954
issue of Vogue. In 1996, portraitist and fashion photographer Patrick Demarchelier would photograph Canadian model Shalom
Harlow similarly coiffed and reclined in a chaise lounge, however, opting for the direct eye contact instead.

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 Blown Away
August 20, 2013

Vogue’s seminal image depicting photographer David Bailey flat on his back whilst photographing the leggy Veruschka may
have very well served as inspiration to the cult 1966 film, Blow Up. Published in the March 1, 1965 issue of Vogue, the
photograph bears an uncanny resemblance to a photo shoot scene in Blow Up in which Thomas (a photographer whose
character was based off of Bailey) photographs the same Veruschka, sprawled out on the floor with her signature long limbs in
a tangle.

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 Nothing But Net
August 21, 2013

With the return of the longer hemlines of the midi skirt, along with Raf Simons at the helm of Christian Dior who cites the
Dior archives as his predominant source of inspiration, a sense of mid-century glamor appears ubiquitous across many of the
more recent collections. Vogue Spain’s December 2012 cover featured the famous face of Kate Moss, enveloped in a net by
Christian Dior and photographed by Mario Testino; also photographed in a Christian Dior net headpiece is Gwyneth Paltrow
by Daniel Jackson for Harper’s Bazaar May 2013. Both covers are reminiscent of Irving Penn’s unforgettable image of Jean
Patchett whose visage is similarly enclosed within a black net.

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 Lend Me Your Ear
August 22, 2013

Transgressive German photographer Helmut Newton, established a prolific body of work in his signature voyeuristic style
that changed the landscape of 20th-century fashion photography. Intimate friends with model and jewelry designer Elsa Peretti,
Newton would often privately photograph her nude. However, Newton did not publish any of these nude photographs at
Peretti’s request, who jokingly insisted he wait until the death of her father before they be released. In 1975, Newton did publish
an image of Peretti in a playboy bunny ensemble by Halston, set against the backdrop of a gleaming New York skyline. For the
May 2009 issue of Vanity Fair, Mario Testino photographed Gisele Bündchen similarly perched atop the Plaza Hotel in a black
leotard.

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 Barbie World
August 23, 2013

To showcase swimsuit styles of the season, German-born photographer Horst P. Horst enlisted model Lisa Fonssagrives to
crouch, conform and contort her body into letters that spelled out the word “Vogue.” Perhaps taking a cue from the aerial-style
imagery of synchronized swimmers choreographed into configuration, Fonssagrives appears in multiples as though she were a
team of swimmers. Celebrating the year anniversary of magazine’s first all-black issue in tandem with Barbie’s 50th anniversary,
Vogue Italia would provide an all-black supplement to the July 2009 issue, swapping out black models for black Barbies. The
issue featured editorials comprised of Barbie dolls, styled and positioned as real-life models, reflecting fashion’s long history of
utilizing dolls to present miniature-sized garments to potential clients.

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 Elephant in the Room
August 28, 2013

Richard Avedon helped to define the post WWII woman with his imagery of impossibly elegant women, theatrically posed
within Avedon’s signature theatric narrative style. Dovima with Elephants is one of Avedon’s most well-known photographs
featuring the model Dovima dressed in couture at the Cirque d’Hiver of 1955 in Paris. Although not a direct homage, an image
from Eric Boman’s “Oh, Morocco!” editorial for British Vogue March, 1992 shares a similar narrative.

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 Life Cycle
August 29, 2013

The year after London’s Daily Express would anoint her “The Face of ’66,” Twiggy would grace four covers of American Vogue
and land one British Vogue cover in her native England. That same year, she shot an editorial for British Vogue in 1967 with
photographer Ronald Traeger–whose premature death came just a year later–for the editorial “Shorts Supply.” In the spread,
Twiggy showed off her twig-like gams, modeling the micro-minis of the season whilst cycling about, legs detached from the
pedals in a free-spirited, childlike manner. For Vogue‘s June 2013 issue, photographer Bruce Weber would not look to the 60s
youthquake but the wartime of the 40s to photograph Dree Hemingway. Taking a cue from her great grandfather’s affinity for
bicycles, Weber would photograph Dree balancing her legs out from underneath her mid-ride, much like Twiggy’s version
decades before.

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 Chiquita Banana
A u g u s t 30 , 2 0 1 3

Although Portuguese by birth, Carmen Miranda would relocate to Rio de Janeiro at a young age and become Brazil’s first
internationally known star reaching icon-status. Immortalized by the Chiquita Banana character of which she inspired, Carmen
Miranda’s exoticism and fiery personality would set her apart from the film noir starlets of Hollywood’s Golden Age. To
highlight her chameleon-like nature, V Magazine would feature Kristin Wiig playing the role of Carmen Miranda, among others,
dressed in character with her signature banana hat.

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 Selfie-Made
S e p t em b er 3 , 2 0 1 3

A precursor to the selfie, Franco Rubartelli’s self portrait of himself then girlfriend Veruschka was an outtake from a series
that ran in the January 15, 1968, Vogue. In the photo, the photographer/model couple sits in the grass, gazing at their reflections
in the mirror as Rubartelli snaps a photo. For Vogue Latin America‘s June 2013 issue, photographer Nagi Sakai celebrated the
German model’s career by restaging several of her most well-known images with model Mirte Maas.

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 Out the Window
S e p t em b er 4 , 2 0 1 3

Hitchcock’s sartorial focus, in addition to the beautiful Hitchcock blondes cast as leading ladies, make his films an obvious
source for fashion inspiration. In 2008, Vanity Fair dedicated their March issue to the director, paying homage to several of his
films. Photographed by Norman Jean Roy, 11 scenes from Hitchcock classics were recreated in an editorial starring
contemporary actors. In the restaged Rear Window scene, Scarlett Johansson and Javier Bardem play the peeping Toms Grace
Kelly and Jimmy Stewart as they peer into the window of their suspicious acting neighbor.

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 B(elle) de Jour
S e p t em b er 9, 2 0 1 3

Originally an homage to a Brigitte Bardot photo by Ghislain Dussart, Herb Ritts’s 1994 photograph of a scantly clad Elle
Macpherson at age 30 was recreated just one year shy of the model’s 50th birthday for Harper’s Bazaar Australia August, 2013.
A reaction to the media’s search for nude photograph’s of her, Macpherson decided to take matters into her own hand and give
the press what they wanted, however, on her own terms with a Bardot-inspired spread in Playboy. To celebrate the magazine’s
Fabulous at Any Age issue, Harper’s Bazaar Australia, enlisted Macpherson to strip down, save for a pair of black stockings,
and recreate her famous Playboy cover.

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 President for a Day
S e p t em b er 1 1 , 2 0 1 3

To ring in Esquire’s 75th Anniversary, the magazine restaged some of their most well-known covers, including the borderline-
racy December 2000 cover featuring then President Bill Clinton on the heels of the Monica Lewinsky scandal. In an attempt to
imbue a sense of honesty à la Honest Abe into the current President, photographer Platon shot the president positioned after
President Lincoln in his famous memorial. However, Platon’s portrait backfired slightly as the public viewed the cover more
crotch-shot than presidential portrait. As the magazine’s sexiest woman alive in 2008, it was only fitting that Halle Berry pose
as Bill Clinton (posing as Abe Lincoln), recreating the controversial cover. Photographed by Cliff Watts, who also happens to
be a close friend of Berry’s, the cover seems to call upon the famous adage, sex is power.

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 Kinetic Potential
S e p t em b er 1 2 , 2 0 1 3

For her SS 2014 collection, Carolina Herrera would imbue her looks with a sense of movement with prints and appliqués
resembling mid-century op-art and kineticism. Looking to her native Venezuela, Herrera reappropriated the works of
Venezuelan artists Jesús Rafael Soto and Carlos Cruz-Diez, resulting in a collection filled slightly dizzying pieces, evoking optical
illusions.

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 Apple of My Eye
S e p t em b er 1 6 , 2 0 1 3

Belgian artist René Magritte toyed with perspective and reality, creating surreal works through real, ordinary settings and
mundane objects. The apple had a lingering presence within Magritte’s oeuvre, as did the suit-clad man topped with a bowler
hat. In his 1964 work The Son of Man, the painter depicted a commonplace scenario of a suited man, however, placed an apple,
somewhat unnervingly, directly in front of the unknown’s visage, obstructing his face. For the Perry Ellis Fall Winter 2013
campaign, photographer Daniel Jackson would look to Magritte with a playful tale on The Son of Man.

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 The Fine Print
S e p t em b er 1 8 , 2 0 1 3

A patron of the arts in addition to an artist himself, Paul Poiret worked alongside some of the era’s foremost textile and graphic
designers. Poiret’s most significant and enduring creative relationship was with textile designer Raoul Dufy, an artist whose
career owes much to Poiret. Dufy’s art deco textile prints were often flat, 1 dimensional and monochromatic; a Poiret cocoon
coat from 1911 (the year pair would meet) typifies Dufy’s aesthetic. Poiret’s draped, uncorseted silhouettes were the ideal canvas
for Dufy’s bold prints. Dufy’s prints are continuously referenced, making an appearance in Marc Jacobs’ all-embracing SS 2014
show which also pulled from elements from Gothic, Victorian and Central Asian dress.

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 Sweater Weather
S e p t em b er 1 9 , 2 0 1 3

Most remembered for his portraits of Marilyn Monroe and James Dean, photographer Phil Stern’s subject matter ranged
from the warfront to Hollywood. The year of the Dean’s premature death, Stern photographed the actor peeking out of his
sweater, perhaps suggesting Dean’s enigmatic persona. In The New York Times T Magazine Style Men’s Fall Fashion 2013 issue,
photographer and Saint Laurent designer Hedi Slimane photographed Justin Timberlake, similarly emerging from his sweater
for a glimpse of the outside word.

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 The Final Curtain
S e p t em b er 2 0 , 2 0 1 3

Following Man Ray’s lead, Philippe Halsman was a proponent of surreal photography with his elaborately orchestrated surreal
scenes. Most remembered for his portraits of Albert Einstein and fellow surrealist Salvador Dalí, the Latvian-born Halsman
would also photograph contemporary fashion. In 1947, Halsman would photograph the fall footwear fashions, depicting three
pairs of disembodied legs sporting the latest shoe styles peeking out from underneath a curtain. In 2011, Karl Lagerfeld would
photograph model Freja Beha in her the fifth consecutive campaign for Chanel. In the ad, only Beha’s stockinged legs are visible
beneath the curtain of a photo booth, resembling Halsman’s photograph years earlier.

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 Nail Down
S e p t em b er 2 3 , 2 0 1 3

After Italian artist Maurizio Cattelan paired with photographer Pierpaolo Ferrari for W Magazine’s 2009 Art Issue, the couple
decided to continue the collaboration, founding ToiletPaper Magazine the following year. Under the art direction of Micol Talso,
the biannual ToiletPaper magazine is entirely image-based, comprised of surreal, technicolor imagery. In 2013, Kenzo’s creative
directors, Humberto Leon and Carol Lim, enlisted the threesome behind ToiletPaper to produce the brand’s FW campaign. The
partnership resulted in a series of pop-art-meets-surreal advertisements in the same aesthetic as the biannual magazine. One
ad in particular bears significant semblance to an image published in ToiletPaper‘s January 2011 issue.

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 Tree of Life
S e p t em b er 2 4 , 2 0 1 3

Viennese Secessionist artist Gustav Klimt’s allover-patterned paintings are often reinterpreted by designers, artists and
photographers. Although not considered a fashion painter, Klimt’s sartorial focus may have resulted from his close relationship
with avant-garde fashion designer Emilie Flöge. Furthering the connection between Klimt’s aesthetic and fashion, Normal
Parkinson set several of Klimt’s works as backdrops for a Vogue UK editorial published in the magazine’s September 1st, 1965
issue. In the editorial, a Pierre Cardin beaded gown blends in with Klimt’s masterful 1905 work, Tree of Life.

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 Victoriana
S e p t em b er 3 0 , 2 0 1 3

When it comes to Victorian design, less was not more but rather quite the opposite. Fashion design, textiles, and decorative
arts of the period followed a busy, multi-media-like aesthetic that reflected the era’s booming and increasingly industrialized
society. The more is more philosophy was also employed by Marc Jacobs in his latest collection, which pulled inspiration from
an expanse of historical elements. A melting pot of a collection, the show featured elements from military-style outerwear, art
deco textiles by Raoul Duffy, and jet-beaded Victorian mourning gowns–complete with leg-o-mutton sleeves. A look from
Jacobs’s spring 2014 collection shares an affinity with a 19th-century gown housed at The Metropolitan Museum of Art.

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 Food Fight
O c t o b er 1 , 2 0 1 3

Following Man Ray’s lead, Philippe Halsman was a proponent of surreal photography with his elaborately orchestrated surreal
scenes including his 1949 work Popcorn Nude recreated by Tim Walker in 2008. Walker often restages well-known
photographs, adding his signature whimsical style to the overall composition. In this version, Halsman’s black and white is
substituted with unexpected color in the least likely of places for Vogue UK‘s December 2008 issue in the editorial “Tales of the
Unexpected,” which paid homage to Roald Dahl, creator of the most beloved children’s tales of the 20th century.

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 Return to Tiffany’s
O c t o b er 3 , 2 0 1 3

A film that ranks top tier in any fashion lover’s list of all-time favorite films, Breakfast at Tiffany’s has provided endless source
of fashion inspiration to designers and photographers. To this day, the film holds clout amongst the sartorially-minded and
maintains an enduring ability to generate buzz. For Glamour Russia’s September 2011 issue, photographer Kenneth Willardt
photographed model Maryna Linchuk posed as some of Hollywood’s most remembered leading lady protagonists, re-staging
Breakfast at Tiffany’s brief music sequence in which a casual Holly Golightly sits perched atop her fire escape whilst serenading
her neighbors with Moon River.

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 Chering is Caring
O c t o b er 4 , 2 0 1 3

Costumer turned ready to wear designer Bob Mackie is responsible for several of history’s most unforgettable gowns.
Remembered for his cheeky curtain rod gown made famous by Carol Burnett in her Gone with the Wind spoof and Cher’s 1986
Oscar ensemble, Mackie’s designs are not for the faint of heart. With an abundance of sequins, beads, feathers, and skin, the
designer would outfit several leading ladies in entertainment including Diana Ross, Liza Minnelli and Tina Turner.
Unbeknownst to the designer himself, Marc Jacobs would show his last collection for Vuitton during Paris Fashion Week SS
14. In his finale of a collection, Jacobs’ cited the musical Chicago and showgirls amongst his sources of inspiration.
Unsurprisingly, a look from Vuitton’s SS 2014 collection bore great resemblance to a design by the costumer extraordinaire Bob
Mackie.

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 Made-Up
O c t o b er 7 , 2 0 1 3

Fashion coverage throughout WWII placed high value on accessories amongst the wartime rations. When a new dress was
not an option, the resourceful woman would change the ribbon on her hat to maintain a fresh look. With such focus placed on
the trimmings of an ensemble, photographer John Rawlings would photograph just that with the amply accessorized hands
and face of a disembodied model seemingly appearing out of nowhere.

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 Stay Put
O c t o b er 1 0 , 2 0 1 3

A “stay” was the word of choice for the understructure later referred to as a corset in the 19th-century. Today, the corset
conjures up notions of tight-laced, wasp-waisted hourglass figures, however, the stay of the 18th-century was intended to lift
the breasts and straighten the back rather than nip in the waist. The chemise served as a barrier between the wearer and the
stay, which was never worn directly against the skin. Making a nod to the stay-over-the-chemise method of underdressing,
Meadham Kirchhoff would send what would resemble a woman in her underwear to the 18th-century eye, down the runway for
their SS 2014 collection.

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 Baker’s Dozen
O c t o b er 1 1 , 2 0 1 3

A pioneer for African American women, Josephine Baker is commonly associated with her seductive banana dance
performance at the Folies Bergère, costumed in a skimpy skirt constructed with a string of artificial bananas. When racial
prejudice proved to hinder to her career, Baker moved East; first, to New York and then Paris, where Baker would ultimately
achieve great success as a cabaret performer and later as an actress. The bohemian culture of interwar Paris embraced Baker’s
skin color, allowing her to catapult to stardom. In 1929, neoclassic photographer George Hoyningen-Huene would capture “the
black Venus” standing tall and in a state of dishabille with her metallic dress all but covering her nude figure. In 1988,
photographer Andrew MacPherson undoubtedly looked to Baker’s well-known portrait when photographing another
groundbreaking woman of color, Iman, for the September issue of Vogue Paris.

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 Ruff Idea
O c t o b er 1 5 , 2 0 1 3

As the uni-sex ruff became an increasingly pervasive component of Renaissance dress, women made an alteration to the
demure neckpiece creating the open ruff as an alternative that showcased the woman’s bust. For Thom Browne’s SS 2014
collection, the designer would reappropriate several elements of historic costume including the women’s open ruff.

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 Coming up Roses
O c t o b er 2 1 , 2 0 1 3

Abundant with images of the era’s leading ladies in both Hollywood and high society, Cecil Beaton’s oeuvre contains several
of Hepburn’s most famous images. A year after the couple’s paths crossed in the musical My Fair Lady–Beaton would serve as
both Costume Designer and photographer, aiding in the creation of the beloved character Eliza Doolittle– Beaton would
photograph Hepburn’s award-winning visage topped off with a floral bonnet. For Vogue Italia’s December 2011 issue,
photographer Steven Meisel would photograph the modern-day beauty ideal Karlie Kloss, similarly adorned in a fresh-flowered
cap.

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 Dragon Robe
O c t o b er 2 2 , 2 0 1 3

China’s Qing Dynasty would mandate several sumptuary laws, establishing yellow as the dedicated color for the dragon
throne: its emperor and court officials. Emperors of the Qing Dynasty would dress in elaborately embroidered golden robes
commonly known as Dragon Robes; silk robes which featured horse-hoofed sleeves, an asymmetrical collar, and nine dragons
strategically dispersed throughout the embroidery of the robe. In 2010, Chinese actress Fan BingBing celebrated her culture’s
rich aesthetic history, wearing a modern-day dragon robe and perhaps commenting on a contemporary culture which likens
celebrity to royalty.

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 North West
O c t o b er 2 8 , 2 0 1 3

It would seem that Alfred Hitchock’s cinematic oeuvre serves as an endless pool of inspiration for subsequent artists and
creatives. Hitchcock’s 1959 film North by Northwest features a chase sequence in which an unsuspecting Grant is hunted down
by a crop dusting plane like a bird hunts its prey. In 1967, photographer Helmut Newton, who had an affinity for gender-
bending, would swap in a female protagonist to recreate a scene much like Grant’s famous Hitchcockian chase sequence.

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 Snail Mail
O c t o b er 3 0 , 2 0 1 3

Soon after Yves Saint Laurent’s death in 2008, his eponymous label would launch a collection of leather goods to
commemorate the late designer. The postage-like script featuring the address of the couturier belonged to Mr. Saint Laurent
himself, taken from a letter he had written. The trompe-l’oeil design may not have been original to YSL, a bronze cigarette case
by Harry Richman in 1939 bears and uncanny resemblance to the contemporary YSL design.

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 Brace Yourself
N o v em b er 4 , 2 0 1 3

Unremitting in his ability to shock, Helmut Newton would continuously skirt the status quote with his borderline-offensive
and politically incorrect imagery. For Vogue’s February 1995 issue, Newton would cast model Nadja Auermann to model the
latest stilettos accessorized with leg braces, canes and other orthopedic paraphernalia, complete with a wheelchair as a prop.
The editorial, named “High and Mighty,” was largely viewed as offensive, however, many also received a sense of empowerment
from the photographs. For i-D Magazine’s Winter 2010 issue, David Bailey would also employ a disability-chic theme in an
editorial with model Abbey Lee Kershaw who was similarly equipped with casts, crutches and braces.

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 Mask Out
N o v em b er 1 7 , 2 0 1 3

A proponent of the Surrealist and Dada movements, Man Ray would build a prolific body of work as an artist and
photographer. In 1926, Man Ray photographed Alice Ernestine Prin, better known as Kiki de Montparnasse, a social fixture of
the Parisian bohemian scene of the 20s (and yes, the same Kiki who would later inspire the eponymous, uber-sexy lingerie
brand). Representing the surrealist’s affinity for African Art, the photograph features Kiki’s resting head alongside that of a
tribal African mask. Years later, the seminal Man Ray photograph would serve as inspiration to a fragrance campaign for Jean
Paul Gaultier’s signature Classique. Photographed by Jean-Baptiste Mondino, the ad is currently on display at The Fashion
World of Jean Paul Gaultier: From the Sidewalk to the Catwalk at the Brooklyn Museum.

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 Head in the Clouds
N o v em b er 1 9 , 2 0 1 3

Belgian artist René Magritte toyed with perspective and reality, creating surreal works through real, ordinary settings and
mundane objects. A common theme in Magritte’s work included the unsuspecting use and placement of clouds with an
indistinguishable divide between grounded reality and fantastical skies. A Holger Trülzsch photograph of Veruschka from 1972
bears significant resemblance to Magritte’s 1946 work La magie noire.

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 In the Red
N o v em b er 2 5 , 2 0 1 3

Francisco de Goya’s peculiar portrait of Manuel Osorio Manrique de Zuñiga depicts childhood innocence while also suggesting
youth’s inevitably fleeting nature. Resplendent in a crimson suit and satin sash, Manuel stands at odds with his surroundings
as three eager cats eye a magpie–the leashed pet of the young boy. Despite the painting’s somber symbolism, it would inspire a
1962 photograph by John Rawlings for a holiday-themed editorial in Vogue’s December 1, 1962 issue. Rawlings would
photograph a young boy dressed in a contemporary version of the 18th-century jumper by Florence Schulman standing afront
the original Goya painting in the Metropolitan Museum of Art.

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 Photo-Booth
D e c e m b er 2 , 2 0 1 3

When compared to his widely recognized contemporaries, Richard Rutledge remains relatively obscure today. Little is known
about the slightly enigmatic photographer, however, a fondness for the color red is evident in his countless images that featured
cherry-colored lacquered nails and dresses of crimson. True to form, a 1954 Rutledge image featured a couple of red-clad models
engaged in a game of cards played from opposite sides of a diner-style booth. Published in Vogue’s July 1, 1954 issue, Rutledge’s
image inspired the confectious Spring 2012 campaign for Louis Vuitton, photographed by Steven Meisel.

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 Later, Gator
D e c e m b er 4 , 2 0 1 3

Inspired by Pina Bausch’s Ballet Keuschheitslegende, in which life-sized crocodiles creep around onstage amongst dancers,
Helmut Newton would capture a ballerina–quite literally–in the belly of the beast, taking the transgressive ballet just a step
further. For Vogue China’s 10th Anniversary issue, Mario Testino would photograph model Liu Wen also interacting with a
crocidile, however, in the contemporary version, the woman seemingly dominates the animal rather than serving as its prey.

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 Fan Out
D e c e m b er 6 , 2 0 1 3

Photographer and photojournalist Alfred Eisenstaedt would photograph celebrities and politicians alike, capturing moments
that showcased and helped to create the popular culture of his era. Among Marilyn Monroe and Sophia Loren, Katharine
Hepburn would sit for Eisenstaedt; a photograph from Life Magazine in 1938 showcases the actress displaying the expanse of
her pleated skirt, reclined on the floor whilst smoking a cigarette. A 1953 classically-themed editorial by Mark Shaw for Vanity
Fair would feature a similar composition, with a reclined model whose diaphanous white skirt is splayed out beneath her.

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 Punked Out
D e c e m b er 9 , 2 0 1 3

Celebrating the launch of Daft Punk’s fourth studio album, Craig McDean photographed the incognito duo alongside Karlie
Kloss who sported a sort of helmet herself which took form as a thick straw-like bobbed wig. Published in Vogue’s July 2013
issue, the editorial featured the group walking about midtown Manhattan, seemingly unrecognizable to passersby save for their
famous headpieces. For WSJ Magazine’s November 2013 issue, Terry Richardson would also cast the pair for the magazine’s
cover who sporting their signature metallic helmets while posed with Gisele Bündchen.

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 Hats Off
D e c e m b er 1 3 , 2 0 1 3

The same year the model would sign an unheard of six-figure annual contract with Revlon, Lauren Hutton was photographed
by Richard Avedon for the July 1973 issue of Vogue. Posing for the 1973 cover story “The American Woman Today Part 1,”
Lauren Hutton would serve as both the all-American beauty ideal of the period along with the era’s most highly compensated
model, setting a standard for many to follow. On the cover of Vogue Spain June 2013, model Anja Rubik is styled a crisp white
blouse and army green bucket hat, much like Hutton 40 years earlier. However, an obvious distinction between the two:
Hutton’s southern roots and Anja Rubik’s Polish nationality.

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 McQueen Antoinette
D e c e m b er 2 4 , 2 0 1 3

To fête the release the Sofia Coppola’s Marie Antoinette in 2006, Vogue enlisted Annie Leibovitz for an 18th-century-themed
editorial starring Kirsten Dunst as the Dauphine. Photographed nowhere else but Versailles, Dunst is resplendent in designer
interpretations of rococo fashions, descending the stairs of a gilded carriage and poised amongst members of her court all
similarly done up in the confectious, pastel colors typical of 18th-century dress. Having built a reputation for reappropriating
just about anything into their runway concoctions, the 2012 Victoria’s Secret fashion show presented a dress which resembled
a McQueen gown worn by Dunst in the 2006 Vogue editorial.

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 Penn it In
D e c e m b er 2 5 , 2 0 1 3

With the return of the midi skirt, along with Raf Simons citing the Dior archives as the predominant inspiration behind his
latest collection for the house, it seems a sense of mid-century glamour is having a moment. As Vogue’s leading photographer,
Irving Penn’s sharp postwar imagery pierced the pages of the magazine in his signature high-contrast, black and white imagery.
Penn’s unforgettable cover for the magazine’s April 1, 1950 issue features an immaculate Jean Patchett, enveloped in net and
wrapped in a scarf, much like a life-sized New Look Barbie. For Vogue China’s December 2013 issue, Mario Testino would look
back to Penn’s oeuvre with an editorial reminiscent of Penn’s early work at Vogue. Model Shu Qi plays the role of Jean Patchett,
restaging some of Penn’s most well-known imagery.

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 A Cut Above
D e c e m b er 3 0 , 2 0 1 3

Vogue’s 1966 editorial, “The Girl in the Fabulous Furs” featured 26 pages of Veruschka swathed in exotic furs, traversing
about Japan on the Bullet Train, (then, the world’s fastest train) along with her stay in a traditional Japanese inn where an
additional room was required to house the abundant furs brought along the journey. In the editorial, the symbolic act of cutting
hair was lightly restaged with a topless Veruschka seated and ready to be rid of her long hair. Further emphasizing the impact
of a model’s change of appearance, Patrick Demarchelier documented Karlie Kloss’s transition from a long haired ingénue to a
sophisticated gamine, which swiftly prompted several models and subsequently countless fashion conscious individuals to chop
off several inches of their own hair.

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 Bend Over Backwards
D e c e m b er 3 1 , 2 0 1 3

A year after photographing YSL’s Le Smoking Jacket on a damp Paris street, Helmut Newton would photograph a beachfront
Charlotte Rampling topsy turvey in a black one piece. For the June/July 2012 issue of Vogue Paris, Dutch photographer duo
Inez & Vinoodh photographed Gisele Bündchen similarly upside down in a yoga-like pose on the beach.

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 Face to Face
January 1, 2014

A contemporary of Salvador Dalí and Jean Cocteau, Elsa Schiaparelli’s transgressive designs were often inspired by the
surrealists. A violet, satin evening coat was the result of Schiaparelli’s collaboration with Jean Cocteau in 1937 and was almost
certainly the inspiration for a jacket seen on Miu Miu’s SS 2014 runways–almost a year after the Costume Institute’s exhibition,
Schiaparelli and Prada: Impossible Conversations.

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 Mousing Around
January 3, 2014

In 1987, Herb Ritts photographed Madonna in bed and undressed, save for the pair of minnie mouse ears affixed atop her
head. Amused, she directs her gaze upwards, focusing further attention on the seemingly out-of-place Disney memorabilia. For
Elle Magazine’s May 2013 issue, Rita Ora covers the ”Women in Music Issue” issue, similarly topped with a pair of mouse ears,
however, Ora’s Philip Treacy headpiece is more Deadmau5 than Minnie Mouse.

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 Hats Off
January 5, 2014

A year before the designer’s final collection, Cristóbal Balenciaga introduced his single-seam wedding dress in 1967.
Balenciaga would take cues from the period’s affinity for futuristic cuts and tech fabrics, and in this case, reappropriated them
into the unlikeliest of places, the traditional white wedding dress. With just one seam, the dress suggests it was born, rather
than made, void of any elements that reveal the adroit human hands responsible for its existence. A similarly smooth monastic-
like hood replaced the obvious white lace veil, making for a complete space age bride. In 2008, then-Balenciaga designer Nicolas
Ghesquière looked to the house’s archives and reintroduced the mod headpiece for the brand’s SS 2008 collection. Four years
later, the habit-like hat was once again brought back to life by Ghesquière for Balenciaga’s SS 2012 show, this time, however,
the hood was offered up as a visor and was immediately stopped atop the heads of several daring fashion week fixtures.

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 With Open Arms
January 8, 2014

Showcasing the president’s popularity in the entertainment world, Esquire magazine’s June 1969 cover featured the newly
elected President Nixon along with his celebrity backers including Art Linkletter, Billy Graham, Rudy Vallee & Lawrence Welk.
The men pictured stand with welcoming arms, wide open with optimism as they praise their new leader. To celebrate the
magazine’s 75th Anniversary, in 2008 British Esquire looked back to their celebrated Art Director George Lois and recreated
several of his 60s covers. Contemporary fashion designers played along in the restaged images, with Karl Lagerfeld chosen to
recreate the 1969 Nixon cover. In this version, the celebrity supporters were replaced with multiple images of Karl Lagerfeld
himself–perhaps to say he may be his own biggest fan.

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 Showers and Flowers
J a n u a r y 1 3, 2 0 1 4

For Numero’s June/July edition, photography duo Sofia Sanchez and Mauro Mongiello would dip model Coco Rocha into a
bathtub, brightly colored flowers swirling around her, afloat in the bath water. Appearing ethereal and weightless, Rocha
resembles a Gustav Klimt mermaid. Nearly a year later, photographer Camilla Åkrans shot Mariacarla Boscono in a flower-
filled tub, however, in this version, the tub is empty save for the exotic blooms.

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 Lady Godiva
January 20, 2014

Society takes peculiar measures when burdened with high taxes: Some throw tea into the harbor while others take to touring
the town on horseback in the nude. The latter, of course, being the method employed by Lady Godiva, the 11th-century
noblewomen whose husband would only relinquish the oppressive taxes he imposed on his people if his wife bared all on
bareback. While the legitimacy of this fable has been questioned, it has nonetheless become the subject of countless paintings
and sculptures, most notably, John Collier’s 19th-century rendition, ca. 1897. In Collier’s Pre-Raphaelite painting, a modest
Lady Godiva sits atop a white horse, her brilliant red hair her only shield against possible voyeurs or a Peeping Tom — the town
tailer who, as legend has it, took a peek at the clothes-less Lady Godiva. In 2000, a fresh-faced Gisele Bündchen was
photographed by Walter Chin for Vanity Fair’s January spotlight on the young model. Undoubtedly inspired by the legendary
tale, Chin photographed Gisele nude and perched on a white horse for the story, “Unbridled Beauty.”

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 An Arm and A Leg
January 21, 2014

A year after Yves Saint Laurent debuted his Mondrian-inspired shift dresses, the designer continued his appropriation of art
into fashion with his Fall/Winter 1966-67 “Pop Art” dresses. This crop of dresses featured fragmented silhouettes of the female
figure printed atop columnar shaped gowns, perhaps suggesting the nude body beneath the cloth. For Jean Charles de
Castelbajac’s SS 2014 show, the designer would feature a dress with an uncanny resemblance to YSL’s 1966 version.

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 Smoke and Mirrors
F eb r u a r y 3 , 2 0 1 4

German photographer Erwin Blumenfeld’s Dada background is evident in his collage-like images and photographic
manipulations. In 1943, Blumenfeld would place model Lisette behind a full-length panel of fluted glass, photographing her
rippled, fragmented silhouette. In 2012, photographer duo Mert Alas and Marcus Piggott would employ a similar tactic in
photographing Madonna’s MDNA Album cover.

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 Wing It
F eb r u a r y 5 , 2 0 1 4

In 1956, Cecil Beaton costumed the debut broadway production of My Fair Lady, which would earn the prolific photographer
and costumer designer a Tony for Best Costume Design. Two years later, Beaton would design the costumes for another — this
time on-screen — musical, Gigi. Both musicals were rag-to-riches tales inspired by Pygmalion that ended with splendid Beaton
gowns. In the film, Gigi’s transformation is materialized as she appears in a white satin winged gown for dinner in fin-desiècle
Paris. If visual evidence is anything to go by, Beaton’s off-the-shoulder gown appears to have inspired a black satin dress that
appeared in the Spring/Summer 2014 collection of Ulyana Sergeenko, the Russian couture patron cum couture designer.

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 Make a Splash
F eb r u a r y 1 2 , 2 0 1 4

Jean Paul Gaultier’s 2009 SS campaign featured a denim-clad couple soaking in a bathtub. For Love Magazine’s SS 2013 issue,
photographer duo Mert and Marcus also took to the tub when photographing Cara Delevingne, Kate Moss and Chloe Moretz.

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 Extra Extra
F eb r u a r y 1 8 , 2 0 1 4

It would seem the cultural impact of Steven Spielberg’s 1982 film ET knows no bounds, apparent even in the realm of fashion.
For the fourth issue of Carine Roitfeld’s fledgling magazine CR Fashion Book, the 80s flick directly inspired the editorial “E.T.
A Tale of Friendship and Loss,” photographed by Sebastian Faena. In the story, the cherub-faced Lindsey Wixson plays then
seven-year-old Drew Barrymore, showcasing the naive fashions of the spring 2014 collections.

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 Ride A Wave
F eb r u a r y 2 0 , 2 0 1 4

With a background in reportage and sports photography, Hungarian photographer Martin Munkacsi became a pioneer in
active, candid-style fashion photography. Ca. 1929, Munkacsi captured a motorcyclist in Budapest splashing his way through
a puddle; the image typified the photographer’s dynamic images so full of life. Years later, it would appear Gianpaolo Barbieri
would look to Munkacsi when photographing model Christiana Steidten atop a Guzzi motorcycle for Vogue Italia, 1974.

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 50 Shades of Glasses
F eb r u a r y 2 4 , 2 0 1 4

The album art of John Lennon’s 1974 record “Walls and Bridges” featured an image of the artist’s multi-bespectacled face,
photographed by Bob Gruen. The over-accessorized pic riffed on Lennon’s ever-present round specs. For Elle Italia‘s April 2011
issue, photographer Alexei Hay showcased the season’s offerings of glasses, layering shade upon shade onto model Hana
Soukupova for an editorial titled “Eye on You.”

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 Throw In The Towel
F eb r u a r y 2 7 , 2 0 1 4

Mario Testino has taken to posting a series of instagrams aptly named and hash-tagged #towelseries. Testino has snapping
behind-the-scenes photos of his subjects on set, including the likes of Kate Moss, Miranda Kerr and Candice Swanepoel, casual
in terrycloth robes and towel-turbans. To promote Taylor’s signature White Diamonds fragrance, Ritts would photograph the
violet-eyed star in a terrycloth robe and head-wrap — and of course, white diamonds for the 1992 fragrance campaign.

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 Top of the Ladder
March 3, 2014

At a time when the draped, columnar and classically-inspired dress came into fashion, photography would also follow a
neoclassical aesthetic. A major proponent of this photographic style was George Hoyningen-Huené, who often inserted Greek-
like columns and classical architectural elements into his mise-en-scène. Hoyningen-Huené is most known for his images which
featured models posed stoically in bathing suits, celebrating the athletic body and alluding to classical sculpture. The Russian-
born photographer’s most well-known 1929 photograph undoubtedly inspired Mikael Jansson’s 2012 editorial “Olympiad” for
Interview Magazine’s May 2012 issue.

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 Framed
March 17, 2014

Erwin Blumenfeld’s images often teased its viewers through photographic and visual manipulations achieved by reflective
surfaces, shadows and duplications. When photographing the soon-to-be Princess of Monaco, Blumenfeld hinted at surrealism
by housing Grace Kelly in a life-sized gilded frame, perhaps likening her to a literal work of art. In 2007, photographer Tim
Walker, whose aesthetic is more whimsy than surreal, would similarly place model Stella Tennant behind a baroque, picture-
less gold frame for Vogue Italia‘s August 2007 issue.

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 A Good Sport
March 22, 2014

With a design philosophy that flouted trends in favor of his own whimsy, Geoffrey Beene marched to his own fashion drum.
Lauded for his expert construction and skillful seams, his pieces were not without a touch of the unexpected. In the vein of
Chanel and Patou, Beene would employ a simple jersey in the design of an evening dress and also looked to sports and
activewear for fashion inspiration. A 1968 black beaded gown typifies the designer’s playfulness: An otherwise run-of-the-mill
shimmery gown is emblazoned with a glittering gold jersey number, transforming the football uniform into an evening dress.
For Tom Ford‘s fall 2014 collection, the designer cited the 1960s and the Southwest as inspiration, sending down a pair of
sparkling shift-dresses, also beaded in the style of a football Jersey — undoubtedly, a throwback to Beene’s well-known football
frocks.

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 Crystal Ball
March 25, 2014

Her December 1992 cover for Harper’s Bazaar was a coup for the young Kate Moss, coming just two years after she debuted
on the cover of The Face in 1990. For the holiday-themed cover, Moss holds a festive snow globe, dressed in crimson taffeta;
the first of many covers for the budding supermodel. In 2013, Harper’s Bazaar Australia would pay homage to the cover,
restaging the photograph with Nicole Kidman for the magazine’s holiday issue, photographed by James White.

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 Bottoms Up
March 29, 2014

Art director and photographer Bert Stern’s images of Marilyn Monroe, Cary Grant and Elizabeth Taylor personified the
youthful and provocative 1960s. Remembered as one of photography’s finest, Brooklyn-born Stern is most revered for his
celebrity and commercial work. In 1962, Stern photographed actor and social fixture of 1960s Italy, Walter Chiari, alongside
model Monique Chevalier as she sips a glass of Chateau Lafite-Rothschild. Chiari appears entranced by his companion, whose
focus is on her drink rather than the man seated across from her. The image was published in the year’s April issue of Vogue
and proved seminal to the photographer–who would recreate his own image nearly 40 years later. In 2010, Stern was
commissioned to photograph Stella Artois’s ad campaign, re-staging his famous 1962 image for the Belgian Beer company. The
two photographs appear nearly identical — with the obvious exchange of beer for wine.

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 Double Breasted
April 14, 2014

Supper club to the stars of Hollywood’s Golden Age, Romanoff’s Restaurant was the setting of an unforgettable image
featuring Italian bombshell Sophia Loren sizing up her American counterpart Jayne Mansfield and veering disapprovingly at
her excessive décolletage on display for the world to see. Of all the 50s bombshells, Jayne Mansfield was undoubtedly the most
unabashed of them all, posing for Playboy dozens of times and leaving little to the imagination elsewhere. The famous scene
has been recreated several times and most recently appeared in Modern Family’s “I-Spy” episode in February of 2014. In this
version, Sofia Vergara assumes the role of Mansfield while Julie Bowen casts a judgmental glance at her companion’s scant
neckline.

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 Café Society
April 28, 2014

In Lima, Peru, Irving Penn would photograph model Jean Patchett on her first Vogue assignment for the editorial, “Flying
Down to Lima.” Penn’s well-known image of the then 22-year-old model was reportedly taken candidly, as Patchett awaited the
next scene, unknowing of the camera upon her. For Vogue’s May 2014 issue, Mario Testino would photograph a reclined Sasha
Pivovarova seated opposite British singer-songwriter James Blake at a Barcelonian Café, reminiscent of Penn’s 1949 issue.

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 Cross Check
May 11, 2014

Peter Lindbergh’s 1988 November cover for Vogue Magazine (also Anna Wintour’s debut cover) featured a black jacket by
Christian Lacroix, encrusted with a Byzantian-like bejeweled cross. The couture jacket, provocatively styled with a pair of the
model’s own acid wash jeans–the model being Israeli model Michaela Bercu– typified the then-novel idea of high-low dressing.
Immortalized by the 1988 cover, the famous Lacroix jacket undoubtedly served as inspiration to Urban Outfitter’s “Beach Riot
Delano” swimsuit.

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 Change the Chanel
May 22, 2014

Considered somewhat of an enigma to the fashion industry, photographer Steven Meisel is notorious for abstaining from
interviews and shying away from the camera, unless of course, he is behind the lens. In 1988, Meisel shot his first cover for
Vogue Italia, beginning a long relationship with the magazine– Meisel would continue to exclusively photograph covers for the
following two decades. In 1992, Meisel photographed model Kristen McMenamy dressed in Chanel wares paired with jeans for
the magazine’s May issue. For Grazia Italia’s June 2014 issue, Alberto Tommaso Badalamenti photographed Italian blogger
sensation Chiara Ferragni seemingly channeling McMenamy in denim and pearls.

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 Cat’s Out of the Bag
M a y 2 6, 2 0 1 4

Before launching his own collection in 1981, Japanese-born Tokio Kumagaï attended the Bunka College of Fashion (where
Kenzo and Issey Miyake would also matriculate) and soon after began designing footwear for Yves Saint Laurent and Pierre
d’Alby. For his eponymous label, Kumagaï went beyond the expected, offering up designs that incorporated appliqués,
patchwork details and other whimsical adornments. Animal-inspired designs would become Kumagaï’s signature, with shoes
aimed to resemble a range of animals including cats, chicken, mice, rabbits and ducks. A popular style by contemporary
footwear designer Charlotte Olympia undoubtedly takes inspiration from Kumagaï’s feline footwear.

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 Well Heeled
June 2, 2014

Long before Terry Richardson’s overt, unabashedly sexy and borderline-pornographic photographs, were those by David
Bailey, Helmut Newton and Guy Bourdin. Employing sex as a shock-factor in fashion photography is not a recent phenomena
and evident in the work of even the most unsuspecting photographers throughout history. Of those photographers, David Bailey
is not to be forgotten. A serial-dater of beautiful women (Jean Shrimpton, Penelope Tree and Catherine Deneuve to name a
few) and a photographer whose life was somewhat loosely portrayed in the cult classic Blow Up, Bailey’s titillating images
coincided with the sexual liberation of Swinging London and second-wave feminism. The contemporary landscape of fashion
photography owes much to his seminal work and his photographs are continuously recreated and looked to for inspiration. In
particular, Bailey’s 1970 “Shoe in Bikini” was undoubtedly referenced in Terry Richardson’s SS 2009 campaign for Jimmy Choo.

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 Strike Gold
J u n e 1 6, 2 0 1 4

Fashion Editor turned photographer Deborah Turbeville, who recently passed this last October, is remembered for her grainy,
soft-focused images that depicted and above all celebrated women. Ultra-femme with an underlying darkness, Turbeville’s work
would make its way into the pages of Mademoiselle and Vogue by the 1970s. For the August 1st, 1977 issue of Vogue, Turbeville
would photograph a trio of nude models (barely clothed, grouped women was a frequent theme in her oeuvre) accessorized in
glittering gold wares that evoked a classical era. Turbeville’s image would later serve as inspiration to photographer Nicolas
Kern for Interview magazine’s Golden Goddess editorial which showcased jewelry from Dolce and Gabbana’s Greco-themed SS
2014 collection.

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 Surf the Net
June 23, 2014

The beach was a frequent mise-en-scène for Herb Ritts photographs, which often featured nude, sometimes gowned,
statuesque women emerging from the ocean or sprawled out amongst the sand. In 1987, Herb–short for Herbert–would
photograph Danish model Brigitte Nielsen on a beach in Malibu. Swathed in a fisherman’s net, she appears a siren or mermaid,
freshly washed ashore. For the 2001 GQ Calendar, Italian photographer Gian Paolo Barbieri looked to the Ritts image when
photographing Monica Bellucci similarly sheathed in a black net on the sand.

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 Lace Faced
July 21, 2014

To commemorate her transition out of silent films and into talkies, Edward Steichen photographed American actress Gloria
Swanson in 1924. A pioneer in the field of fashion photography, Steichen would build a prolific body of work capturing the
glamour of Hollywood’s Golden Age. In Swanson’s portrait, Steichen suspended a piece of black lace directly between Swanson
and the camera, capturing what he later referred to in his biography as “her look of a leopardess lurking behind leafy shrubbery,
watching her prey.” For Interview Magazine’s September 2011 issue, photographer duo Mert & Marcus shot a widowed Anne
Hathaway veiled in black lace. Although more prey than predator, Hathaway’s lace covered visage bears semblance to that of
Swanson’s in Steichen’s famous portrait.

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 Take Note
August 6, 2014

Iconoclast designer Elsa Schiaparelli is most remembered for infusing a sense of wit and irony into her designs through surreal
touches. Schiaparelli’s Fall 1939 music-themed collection celebrated music, quite literally, with drum-shaped button closures,
embroidered musical notes and music boxes designed into belts and hats. This particular dress, owned by heiress Millicent
Rogers and housed at the Costume Institute at the Met, features musical notes and symbols embroidered in metallic thread on
organza, paired with a belt designed with a working music box as the buckle. At Valentino, designers Maria Grazia Chiuri and
Pierpaolo Piccioli would similarly transform textile to sheet music for the brand’s Spring 2014 Couture show.

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 Rise to the Challenge
August 20, 2014

The oeuvre of milliner extraordinaire Stephen Jones contains hats both wearable and conceptual. His 1993 acrylic headpiece,
cleverly titled “wash ‘n’ go,” simulates the look of splashed water atop the wearer’s head. Charity, not fashion, is the reason
many celebrities are partaking in the wash n’ go look this summer as part of the ALS Ice Bucket Challenge. While nominations
for the 24-hour challenge have been bouncing around since last winter, the craze first received national attention when golfer
Greg Norman challenged Matt Lauer, who was subsequently doused with a bucket of ice water live on the Today Show.

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 In Hot Water
August 22, 2014

For Love Magazine’s SS 2013 issue, photographer duo Mert and Marcus took to the tub when photographing Cara Delevingne,
Kate Moss and Chloe Moretz. A year later, Cara appears as the face for Tom Ford’s Black Orchid fragrance campaign. In line
with the brand’s ever-racy ads, the British model soaks nude in a tub with orchids floating about her.

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 Pearly Whites
O c t o b er 1 2 , 2 0 1 4

Mia Farrow graced the cover of People’s inaugural issue on March 4, 1974 which announced the elfin actress’s forthcoming
role as the Daisy Buchanan opposite Robert Redford as Gatsby. To celebrate the magazine’s 40th anniversary, People enlisted
the chameleonic Taylor Swift to recreate Farrow’s Gatsby-inspired cover.

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 Banana Dance
O c t o b er 2 4 , 2 0 1 4

A pioneer for African American women, Josephine Baker is commonly associated with her seductive banana dance
performance at the Folies Bergère, costumed in a skimpy skirt constructed with a string of artificial bananas. Miley Cyrus would
follow suit in a banana skirt lookalike, sporting the provocative ensemble almost a century later to promote her upcoming tour.

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 Lampshade Dressing
N o v em b er 2 9 , 2 0 1 4

Paul Poiret’s 1913 costumes for Le Minaret were followed soon after with similar versions available for his avant-garde patrons
looking to shock in Orientalist ensembles. Poiret’s translation of harem-style dressing for the Parisian set resulted in a stiffened,
oversized tunic paired atop his columnar hobble skirts. The “lampshade” silhouette became a signature design for Poiret both
on and off-stage. For Valentino’s 2011 Spring Couture show, Pier Paolo Piccioli and Maria Grazia Chiuri explored concepts of
lightness and buoyancy; a look from the collection mimicking Poiret’s dual-hemmed silhouette.

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 Drown Out
January 3, 2015

As one of the three founders of the Pre-Raphaelite Brotherhood, John Everett Millais, would create some of the most well-
known imagery of the Pre-Raphaelite movement which looked to Quattrocento or 15th-century Italian art. Shakespeare often
served as inspiration to the Pre-Raphaelites as seen in Millais’ 1851-52 painting Ophelia which portrays the tragic suicide of
Ophelia in Hamlet. For Vogue‘s December issue in 2011, Steven Meisel took inspiration from the 19th-century movement,
casting actress Saoirse Ronan as a Pre-Raphaelite “stunner.”

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 Stay the Course
January 31, 2015

A “stay” was the word of choice for the understructure later referred to as a corset in the 19th-century. Today, the corset
conjures up notions of tight-laced, wasp-waisted hourglass figures, however, the stay of the 18th-century was intended to lift
the breasts and straighten the back rather than nip in the waist. The chemise served as a barrier between the wearer and the
stay, which was never worn directly against the skin. Making a nod to the stay-over-the-chemise method of underdressing,
Maria Grazia Chiuri and Pierpaolo Piccioli of Valentino would send what would resemble a woman in her underwear to the
18th-century eye, down the runway for their Spring 2015 Couture collection.

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ALL MATERIAL WAS USED FROM [Link] (LIL AH RAMZI)

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