From Publishers Weekly
In staggering detail, this coffee-table album proceeds year by year, from 1909 to 1986, recording shifting styles in dresses, coats and blouses, fluctuating hemlines, changing hues. In a book packed with hundreds of black-and-white photographs and drawings from Vogue , Mulvagh ( Costume Jewelry in Vogue ) lamely attempts to treat fashion as a barometer of social change. Thus we hop from the Edwardians' movement-restricting gowns to the "sober, adaptable" styles necessitated by WW I, to late '50s defiance embodied in the miniskirt, then on to the Japanese influx of the '70s, punk, New Romanticism, and so forth. But this showcase, garbed in promotional brochure lingo ("Hats made a comeback"; " . . . the silhouette took a soft turn") succeeds mainly as a visual repository festooned with slender Vogue models with pouts and turned-up noses. All the big names and many lesser lights of haute couture are here.
Copyright 1989 Reed Business Information, Inc.
From Library Journal
That this detailed year-by-year survey is based on Vogue is both its strength and its weakness. Because Vogue has been at the center of 20th-century fashion, the myriad photographs selected from its pages--and spanning the years 1909 to 1989--are an invaluable chronicle. The magazine also provides a solid historic base for the text. Yet like Vogue, this book covers only women's fashion and views it only from the Vogue viewpoint, which is not necessarily that of the average person. In contrast, Elizabeth Ewing's History of Twentieth Century Fashion (Barnes & Noble, 1986) offers a broader perspective by including inexpensive, ready-to-wear fashions. Nevertheless, the use of diaries, memoirs, and historical documents combine with the author's able analysis to create an impressive work valuable to social historians, costume designers, and other followers of high fashion.
- Daniel J. Lombardo, Jones Lib., Inc., Amherst, Mass.Copyright 1989 Reed Business Information, Inc.