editorial side,Voguefashion editor Carmel Snow
worked collaboratively with photographers like
Steichen, who became the chief photographer for
VogueandVanity Fairin 1923. Steichen created the
first color photograph to appear on aVoguecover
in 1932, and Nast hired Horst for the New York
edition ofVoguethat same year. Nast soon began
replacing fashion drawings on the covers with
photo-illustrations.
One of his favorite artists was John Rawlings,
who shot more than 200 cover photographs for
VogueandGlamourfrom the mid-1930s up until
the 1960s.
Vanity Fairalso began bringing a wide audience to
photographers who went on to become well-known,
as editor Frank Crowninshield published work by
Gertrude Ka ̈sebier, Alfred Stieglitz, and Clarence
White in 1915. Seven years later, Paul Outerbridge,
Jr., Steichen, and others produced still-life shots for
the magazine. Cecil Beaton, Anton Bruehl, and
George Hoyningen-Huene, already established
photographers, also began shooting for Vanity
Fair. Nast’s magazines began regularly commission-
ing fashion, lifestyle, and portrait photography by
womeninthefieldinthe1920s,whenGerman
photographer Antonie ‘‘Toni’’ von Horn began
shooting forVanity FairandVoguein New York.
Von Horn officially joined the Conde ́Nast staff in
- Photographers such as Toni Frissell in the
1930s, Frances McLaughlin Gill in the 1940s, and
Diane Arbus and Karen Radkai in the 1950s, cre-
ated their earliest published work for Glamour,
Vogue,andVanity Fair.
Early on, the Conde ́ Nast publications inte-
grated photography, typography, and editorial
themes into a boldly influential blend of content
and imagery. As art directors began directly hir-
ing photographers, the fusion of color photogra-
phy and glossy magazine pages fueled their
experimentation with publication layout and
design. After joining the company as the art
director of Vanity Fairin 1929 and Vogue the
following year, Mehemed Fehmy Agha estab-
lished a stylistic preference for larger photographs
over other illustrations, such as line drawings. As
a stable of photographers became an editorial
necessity and grew for each magazine under the
Conde ́ Nast umbrella,Glamourart director Cipe
Pineles hired photographers such as Cornell Capa
and Herbert Matter. Alexander Liberman, who
began as theVogueart director in 1941 and was
later the Conde ́Nast editorial director from 1962
until 1994, brought in Richard Avedon, Gordon
Parks, William Klein, Helmut Newton, and
Irving Penn.
Penn was initially an art director atVogueand
later became a still life and fashion photographer
for the magazine, from 1950 onward. His volumi-
nous body of work has been highlighted in museum
exhibitions, as many arts institutions began show-
ing the work of fashion photographers in the 1970s.
In 1977, a touring exhibition calledThe History of
Fashion Photographyopened at the International
Museum of Photography at the George Eastman
House in Rochester, New York. For the next year,
the show traveled to large venues within the United
States, including the San Francisco Museum of
Modern Art. In 1985, the Victoria and Albert
Museum in London held the exhibitionShots of
Style, curated by VogueandGlamourphotogra-
pher David Bailey. Seven years later, On the
Edge: Images from 100 Years of Vogueopened at
the New York Public Library.
After an acquisition by S.I. Newhouse in 1959,
the Conde ́ Nast magazines became part of
Advance Publications, Inc., one of the largest
media conglomerates in the United States. The
company launched Conde ́Net, the Internet coun-
terpart to its magazine group, in 1994. Vogue
became the first Conde ́Nast magazine with a par-
allel Web site in 1999. The site transformed into
Style.com, along with content fromWmagazine, in- Conde ́Nast also has established an archive
of thousands of images from its magazines, span-
ning nearly a century of fashion, celebrity, candid,
still-life, and travel photography. By the time the
entire collection is catalogued, more than one mil-
lion photographs and illustrations will reside in the
Conde ́Nast Archive.
KellyXintaris
Seealso:Archives; Beaton, Cecil; de Meyer, Adolph;
Fashion Photography; Horst, Horst P; Liberman,
Alexander; Lighting; Newton, Helmut; Portraiture
Further Reading
Campbell, Heyworth.Modern Masters of Photography, Ser-
ies 1: Pictorialists. New York: Galleon Press, 1937.
Derrick, Robin, and Robin Muir.Unseen Vogue: The Secret
History of Fashion Photography. London: Little Brown
UK Ltd., 2002.
Devlin, Polly.Vogue Book of Fashion Photography. Lon-
don: Thames and Hudson, and New York: Simon &
Schuster, 1979.
Hulick, Diana Emery, and Joseph Marshall.Photography–
1900 to the Present. Upper Saddle River, New Jersey:
Prentice-Hall, 1998.CONDE ́NAST