Vanity Fair Magazine – Old Magazine Articles

Young Picasso
(Vanity Fair Magazine, 1923)

“Upon his first arrival in Paris, Picasso met with success. It was ’99… At that time he had a face of ivory, and was as beautiful as a Greek boy; irony, thought and effort have brought slight lines to the waxen countenance of this little Napoleonic man… At that time, Picasso was living the life of the provincial in Paris… He had won fame there by his portraits of actresses in the public eye. Jeanne Bloch, Otero – all the stars of the Exposition. Those paintings are priceless today; the intelligent museums have bought them.”

Fashion Notes from London
(Vanity Fair Magazine, 1923)

Written in a prose style reminiscent of an owner’s manual, these pages spell out the 1923 tailoring rules for men’s formalwear:

“Essentially traditionalist in matter of men’s clothes, London is never more
conservative than in dress clothes, and the changes from year to year are of the slightest… However, one still sees far more dinner jackets (ie. “tuxedos“) in restaurants than of yore, when black tie and short coat were for the home circle and the club alone, but in society, whether for small dance, ball, dinner or theatre party, the white tie is the rule.”

April is the Cruelest Month
(Vanity Fair Magazine, 1923)

“With the double-breasted coat, the single-breasted waistcoat is the rule and to repeat the crossing of lines twice in one suit is an entirely unreasonable exaggeration.”

1923 Germany
(Vanity Fair Magazine, 1923)

Maximilian Harden (1861 – 1927) was a major-league journalist and editor in Germany at the time of the First World War. Between 1914-18 he was all-in for a German victory. After the defeat he believed in the democracy that came with the Weimar Republic – but he hated the economic state that his country was forced to endure – and that is what he addresses in this column.

“An old married couple, or a widow, who in 1914 were assured of an untroubled existence on an income 6,000 marks a year, cannot buy with that amount today a pair of shoes, or any new sheets, and can get nine or ten pounds of butter at the most…If anyone has looked upon all this destitution, which is borne by many in silence and true dignity, if anyone has seen this decay of a whole nation, which is like the crumbling of some venerable cathedral, and if in spite of this he puts it all down as camouflage, then that person has a heart of stone in his breast.”

Expressionism as Theory
(Vanity Fair Magazine, 1923)

Ernest Boyd (1887 – 1946), all-around swell guy and significant literary figure in 1920s New York, took a hard look at German Expressionism and its wide influence on other Teutonic arts in the early Twenties. He paid particular attention to the German critic Hermann Bahr (1863 – 1934), who coined the term, Expressionism, and had much to say about the movement.

Rudyard Kipling
(Vanity Fair Magazine, 1923)

Literary critic Philip Guedallia (1889 – 1944) reluctantly concluded that the contributions of Rudyard Kipling (1865 – 1936) to the world of letters were genuine – and, no matter what you think of him, his writing will be around for a good while.

“He sharpened the English language to a knife-edge, and with it he has cut brilliant patterns on the surface of our prose literature.”

Tristan Tzara on the New Expressionists
(Vanity Fair Magazine, 1923)

Artist Tristan Tzara (1896 – 1963) reported from Berlin for the editors at Vanity Fair on what’s new in German art. With tremendous enthusiasm he explained everything that was going on throughout all the German studios – he did not hold back – every name brand is included: Schwitters, Klee, Kandinsky, Lehmbruck, Gropius and the Bauhaus.