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For nearly a century, fashion magazines have provided sophisticated platforms for cutting-edge photography - work that challenges conventions and often reaches far beyond fashion itself. In this book, acclaimed photography critic Vince Aletti has selected 100 significant magazine issues from his expansive personal archive, revealing images by photographers rarely seen outside their original context. With his characteristic elan and featuring stunning images, Aletti has created a fresh, idiosyncratic, and previously unexplored angle on the history of photography.

To examine modelling of outcomes relevant to sun protection in Australian women's magazines, content analysis was performed on 538 spring and summer issues of popular women's magazines from 1987 to 2005. A total of 4949 full-colour images of Caucasian females were coded for depth of tan, extent of clothing cover, use of shade and setting. Logistic regression using robust standard errors to adjust for clustering on magazine was used to assess the relationship between these outcomes and year, setting and model's physical characteristics. Most models portrayed outdoors did not wear hats (89%) and were not in shade (87%). Between 1987 and 2005, the proportion of models depicted wearing hats decreased and the proportion of models portrayed with moderate to dark tans declined and then later increased. Younger women were more likely to be portrayed with a darker tan and more of their body exposed. Models with more susceptible phenotypes (paler hair and eye colour) were less likely to be depicted with a darker tan. Darker tans and poor sun-protective behaviour were most common among models depicted at beaches/pools. Implicit messages about sun protection in popular Australian women's magazines contradict public health messages concerning skin cancer prevention.

This internship report will discuss my experience as a trainee in the magazine Vogue Germany in Paris between September 2020 and May 2021. As an operational assistant in the fashion department, I was directly involved with the production of Vogue Germany’s fashion images, mostly picturing women. During the preparation for the shoots, the contact with multiple experts in the fashion industry made me aware of and impressed by the impact fashion paper magazines have on the configuration of women’s identity, and consequently, on their well-being. In this report I seek to understand how the processes underlying the production of fashion images representing women have psychological and behavioral implications for female readers. Drawing on neurological and sociological principles, I focus particularly on how images can reinforce society’s preconceived representations of and prejudices against women. Neurological principles have demonstrated the potential impact of images on well-being. Thus, through a selection of case studies found in the issues of Vogue Germany published during periods of confinement due to Covid-19, I examine how and to what extent the representation of women in the production of fashion images can lead to psychological changes in female readers, thereby impacting their well-being. To understand how women would like to be represented in fashion photography, I adopted the use of qualitative research through focus group interviews. Neuropsychological principles of mental imagery informed the causal link between the representation of women in fashion magazines and their impact on women’s identity.

Fashion and museums are not typically considered compatible, with the former representative of constant, if not arbitrary, change, and the latter the shrine of the timeless. Yet museum exhibitions of fashionable dress have exploded in popularity over the past twenty years, signifying the widespread recognition of fashionable dress as a worthy category of museum object, and a cultural fascination of significant import. Little attention has been paid, however, to the origins of that march towards accession and acceptance, and the birth of the pioneering collections that have made such spectacles possible. This dissertation comprises a thorough analysis of the context, praxis, and implications of the methodology of collection and display forged at the Museum of the City of New York (MCNY)—home of the oldest continually operative and extant costume collection in New York City—from its founding in 1923 through the 1950s. I explore how various cultural anxieties manifest in an elite social class from the late-nineteenth and into the early-twentieth centuries—including loss of architectural heritage, changing population demographics, the outmoded role of museums in communities, and a new appreciation for the role of women in the historical narrative—led to an environment that was receptive to this particular type of museum and collection. This dissertation examines how the museum marketed itself to the public; how the collection was built and maintained; and how the objects themselves were displayed in both permanent galleries and in temporary exhibitions. Through this microhistorical approach, I suggest broader truths about the epistemological function of fashion in museums, and fashionable dress’s unique ability to amplify the retention of historical knowledge. More broadly, I endeavor to reinsert both MCNY and costume back into the narrative of museum history, the Colonial Revival, and the preservation movement in the US during the interwar period.MCNY relied on the framework of upper-class, domestic period rooms populated by mannequins in fully-accessorized fashionable costume to craft a narrative of municipal history that was synonymous with style and condensed in the byword “manners,” encapsulated by the richly contextualized interiors and the garments worn by their occupants. The survival of these objects suggested a certain “material morality” defined by a rubric of only the most luxurious garments and furnishings from illustrious (wealthy, white, Anglo-Saxon) families. To convey the lessons of these old-fashioned fashions to an audience, MCNY embraced tactics of engagement borrowed from commerce and entertainment, encouraging an embodied encounter with the past by employing a technique I term the “glance back” to engross and educate an audience trained as consumers. In so doing, it made fashion, and fashionability, a fundamental, and even constitutive, aspect of New York’s civic identity. This study of MCNY reveals a uniquely “feminine” institution on the forefront of a shift in interwar American museology, paradoxically striving to unite an explicitly populist ethos with elite material culture. By recovering overlooked female figures like writer and firebrand Mrs. John King Van Rensselaer; curator V. Isabelle Miller; Women’s Committee chiefs Mrs. Henry Horton Benkard and Mrs. H. Casimir de Rham; restorers Mme. Helene Fouché and Mrs. Puicon; volunteers; and others, who both invented and implemented the museum’s core mission to educate an increasingly diverse populace in the “history of manners,” I explore how a historical narrative delineated through the avatar of fashion simultaneously opened a space for women’s history in the museum while also severely circumscribing a hierarchy of values both sartorial and social. Ultimately MCNY’s most extraordinary characteristic was the way in which it presented fashionability itself as a civic virtue, encapsulated in the female-dominated space of the interior and its well-dressed inhabitants.

This paper revisits two early rubble films from 1946 and 1947 against the background of the contemporary fashion and women's press in Berlin in order to reconstruct a historic female experience of the immediate postwar period that goes beyond the clichéd images of the German woman as Trümmerfrau, Amiflittchen, or a victim of rape. By taking a closer look at the presentations of clothes and various sartorial practices in these two films, this article delineates a wider range of subjective positions associated with female characters and a broader array of attractive identities offered to a predominantly female spectatorship.

The author examined how low‐income job seekers participating in a workplace dress program identified traditional business and business casual dress. Seventy low‐income job seekers identified clothing items as traditional business (e.g., suits, ties), similar to identifications made by professionals and image consultants in previous literature. Garments selected as business casual varied than did selections for traditional business. Garments identified as casual business varied from preprogram to postprogram, whereas selections for traditional business remained relatively stable. The results suggest a need to clarify the parameters of business casual in workplace dress programming and future research.