Snow agreed, and Hallmark was so appreciative that she offered to introduce her to the editor of Vogue, Edna Woolman Chase. In , Snow was hired at Vogue as an assistant editor. She was already 34, but in many ways she grew up at the magazine. She also met her future husband, George Palen Snow, and gave birth to her three daughters during her years there.
At various times, both Nast and Chase are said to have intimated to Snow that she would take the reins at the magazine once Chase decided to retire. Nevertheless, Snow's decision to leave for Bazaar at the end of , while dramatic, was not entirely a surprise. Though she ascended to the role of fashion editor at Vogue, she had grown to feel increasingly stifled by Chase, who, despite giving a platform to the innovative photography of Steichen and Cecil Beaton and the art direction of Dr.
Mehemed Fehmy Agha, was resistant to Snow's more adventurous ideas—among them, the notion of shooting on location or depicting motion in imagery. In , Chase would issue a curt memo to her staff photographers that summed up her philosophy of Vogue 's creative mission: "Show the dress. Concentrate completely on showing the dress, light it for this purpose and if that can't be done with art then art be damned.
She also didn't feel that Chase had plans to retire anytime soon. Then there was the matter of Snow's brother Tom White, who had been named general manager of the Hearst magazine unit in To Nast and Chase, the prospect of Snow defecting to the competition because of that connection had loomed large.
It was not Tom White, but his boss, Richard Berlin, the head of the magazine division, who ultimately brought Snow to Bazaar. But all that did little to mitigate the feelings of betrayal when Snow told Nast and Chase that she was leaving. Snow was initially named Bazaar 's fashion editor, reporting to the magazine's top editor, Arthur Samuels. But from the moment of her arrival, it was clear that bigger things were in the offing.
Snow had an instinct about how women regarded themselves in the s and believed that the images in "the Bazaar, " as she liked to refer to the magazine, needed to embody that mood—a kind of freeing femininity and individualism that existed in the corners of Katharine Hepburn's smile and the loose lines of a Coco Chanel dress. She had long been interested in taking fashion out of the studio, but the physical liberty, the sense of place, and the unabashed humanism in Munkacsi's work broke new ground.
The Piping Rock beach picture was a revelation—a stolen moment that conveyed real energy in a real environment in real time. Soon Bazaar was filled with images of women in motion and in the world. Chase would later deride Munkacsi's work—and indeed much of the photography in Bazaar— as pictures of "farm girls jumping over fences.
In , Samuels left to edit House Beautiful, which Hearst had just acquired. Snow was named the editor of Bazaar, and set about making the magazine into one for "well-dressed women with well-dressed minds. Gone were the tidy, imperial rhythms of the old days.
He'd arrived from Paris, where he worked as a graphic designer, painted sets for the Ballets Russes under the art patron Sergei Diaghilev, and befriended a host of painters, sculptors, and photographers involved in the modernist art movements in Europe at the time.
Snow was struck by the immediacy of Brodovitch's work: Images, text, shapes, and ideas all collided and commingled, with dramatic cuts and crops, but everything always felt elegantly composed, with each element working in concert with every other. Snow asked Brodovitch to become Bazaar 's new art director that evening. Snow's next epiphany came the following year in New York at the St.
Regis Hotel, when she spotted a seemingly unabashed woman with roses in her dark hair dancing in a Chanel lace dress, her cheekbones emphatically rouged. The woman's name was Diana Vreeland, and she and her husband had just returned to New York after a stint in Europe. Vreeland didn't disappoint: Her proposals were often so decadent, outlandish, and gleefully out of step with the austere modes of the Depression era—"Why don't you wash your blonde child's hair in dead champagne as they do in France?
Not long after, Snow hired Vreeland to be Bazaar 's new fashion editor. Vreeland was theatrical, and she had strong opinions. She loved, she hated, and she swooned, and the interplay between her and Snow could be entertaining. In A Dash of Daring, Rowlands recalls an oft-told story among Bazaar staffers of Vreeland's marching into an editorial meeting and proclaiming with great vehemence that the entire next issue must be about fuchsia.
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Keep in touch Got a story or experience to share about living or moving abroad? Let us know. Subscriber Only. Three of the best pizzas in Ireland, and where to eat them. Sign In. Don't have an account? Forgot Password? Not an Irish Times subscriber? Update Payment Details Not Now. In , Carmel attended the first-ever Dior fashion show in Paris.
It was in her report on the fashion show that she claimed the Dior dresses "have such a new look" and so, the term "New Look" was coined and is still a widely used fashion term today.
When she returned to New York, she championed Dior as a designer and helped to make it a success in the United States. She is said to have been responsible for transforming the hopeless fashion magazine into a forward-thinking publication that was responsible for bringing the likes of Andy Warhol , Cecil Beaton , Truman Capote , Lauren Bacall and others to the world's attention.
Today, Harpar's Bazaar remains one of the world's most successful and respected fashion magazines. It is said that Carmel was loved by her staff with and always brought out the best in those she worked with.
Women's museum of Ireland report that she was laid out in her coffin in a red Balenciaga suit and when Richard Avedon was asked why the legacy of such an influential woman remains little known, he responded:. The stamps shine a light on Irish women who have long been pioneers and innovators both at home and abroad and acknowledge in a special way the role of Irish women as pioneers and innovators in various fields of endeavour.
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