Enter Mrs. Exeter

I've only just realized that "Mrs. Exeter", Vogue magazine's imaginary mature woman, was a play on  the title of Sergeant's painting, "Madame X". I've been reading about Mrs. Ex in "1950s in Vogue—The Jessica Daves Years" by Rebecca C. Tuite. 

Jessica Daves was the unsung editor of Vogue magazine from 1952-62, important years for American women and fashion in America. Mrs. Daves loved the name "Mrs. Exeter", and now I see why. Unlike Sargent's painting, notorious for its since-replaced slipped strap, Mrs. Exeter was the pinnacle of chic correctness.

"Madame X"

Mrs. Exeter was first introduced to Vogue readers in 1948. At the time Jessica Daves was "active editor". She would become editor-in-chief when Edna Woolman Chase retired in 1952. By that time Jessica was 58 and Edna 72. It makes sense they thought having a Mrs. Exeter was a smart move.

As I myself have certainly discovered, one doesn't stop loving fashion on a particular birthday. The target age Vogue chose for Mrs. Exeter was "approaching 60". In theory women that age have more time and money to spend on beauty and fashion—that may in fact have been true back then—and Jessica Daves was nothing if not conscious that Vogue was a business. The more readers it could connect with, the more advertisers would sign on. 

But I do feel Mrs. Exeter was a labor of love. Not only was she given the personality of the observant Mrs. Daves, she was enjoyed by all Vogue readers as the voice of that wiser, fashionable, big sister, aunt, parent, friend. 

Mrs. Exeter also appeared twice on the cover of American Vogue (one above left). British Vogue had their own Mrs. Exeter (right cover) often "played" by one model specifically recruited to fit the role. The American Mrs. Exeter began as illustration then morphed to photography. No one model assumed the role.

The British Mrs. Exeter

Quite a few "Mrs. Exeter" features showed her wearing Vogue Patterns, and I think I know why. Many women's magazines were also tied into sewing pattern companies (McCall's would be an obvious example). Conde Nast owned quite a few besides the Vogue brand. Magazines were beholden to run at least a few pattern features a year. As a reader and creator of my own wardrobe I loved when they did. Once I joined the staff of a fashion magazine myself, I saw the required pattern features were treated respectfully but with no real enthusiasm.

Early illustrated Mrs. Exeter

Photography and wise words from Mrs. Exeter

For Mrs. Exeter (or her seamstress)

Besides showing off her good taste in clothes, Mrs. Exeter penned a column that shared her musings. She was such a successful invention there was debate among Vogue readers whether in fact she wasn't a real person.

NB There didn't seem to be anything wrong with this in magazine circles. For many years the "Jake: A Man's Opinion" in Glamour was written by several men, none of them named Jake. At least they were men.

Looking, acting or being young were never goals of Mrs. Exeter's, who happily sported gray hair with her blessedly trim figure. When Diana Vreeland took over Vogue in 1962, Mrs. Exterer made her exit. No spring chicken herself (59 when she became editor in chief) Diana coined the term "youthquake" to describe what was happening in fashion and culture. We've been beholden to youth culture ever since. 

Vogue, July 1967

 

Forever the Ballerina

Degas loved to paint ballerinas. "The Red Shoes" unleashed a generation of wanna-bes. Audrey Hepburn found her heart's desire thwarted. Natalie Portman married the teacher.

Ballet has fascinated since its beginnings (around 1500 in Italy). The ballerina has become an ethereal, almost other-worldy creature, on display again in Amazon Prime's new miniseries, "Etoile", streaming April 24.

"Etoile" promises to be a potboiler of romance and workplace intrigue with beautiful locations, not to mention a gorgeous cast.

Once bitten little girls never get over the ballet bug. 

I saw "The Red Shoes" in 1948 (age 6) and begged my mother for ballet lessons for years. Never mind that "The Red Shoes" was a cautionary tale. I was far too young to understand the plot, but Moira Shearer was enchanting. Like all good performers she made it look easy. By the way, Moira Shearer was a dancer who had never acted when she took the role. 

Scenes from "The Red Shoes"

My mother wisely stalled on those ballet lessons as Gallumphing Gertie here would never have been successful. Undeterred I did take a few lessons at the Joffrey Ballet in NYC in the mid-'60s. They had open classes for $5 a session. Mr. Joffrey only took $10 from me. I realized it best to save my money for tickets to his wonderful productions. 

Scenes from "The Secret People"

Audrey Hepburn might be the world's most successful unsuccessful ballerina. She studied ballet throughout her childhood despite the privations and dangers of WWII. Audrey grew too tall (5'8") for a conventional ballerina but found work as a cabaret dancer. In one of her early films, "The Secret People", she was a ballerina in training. Eventually she danced on film with the great Fred Astaire in "Funny Face". Ballet's loss was truly our gain.

Portman and Millepied in "Black Swan"

Natalie Portman met Benjamin Millepied on the set of 2010's "Black Swan" where he was the choreographer and one of the film's dancers. She prepared almost a year for her part as another doomed dancer. Millepied is a classically trained pro who later became director of the Paris Opera Ballet. They were married in 2012 and divorced in 2024.

Dancers lead impossibly disciplined lives. Their workouts are brutal and never-ending, diets restricted and stringent, lives outside the studio or off the stage limited at best. They are almost always in pain and live in constant fear of injury. But that doesn't take away from our fascination.

Just think about the fashion classics that have come to us from ballet:

BALLET SLIPPERS
(from the real deal to street style)

TULLE SKIRTS
(Giselle to Chanel)

LEOTARDS

(workout to going-out)

CHIGNONS

(OK so call it a bun)