Miller witnessed incredible acts of resistance born out through fashion-and her photographic record of women's indomitable spirit even in times of war has remained an invaluable resource in fashion and global history. The world of fashion emerges as the backbone of Miller's creative development, as well as an integral lens through which to understand the effects of war on the lives of women in the 1940s and 1950s. Lee Miller in Fashion is the first book to examine how her career as a model and fashion photographer illuminates her life story and connects to international fashion history from the late 1920s until the early 1950s. Miller was recognized as "one of the most distinguished living photographers" during her hey-day as a fashion photographer, but an astonishing number of these images have remained unpublished. Miller became a celebrated Surrealist under the tutelage of her lover, Man Ray, and then joined the war effort during World War II, documenting everything from the liberation of concentration camps to the daily life of Nazi-occupied Paris. Midcareer, she made the unprecedented transition from one side of the lens to the other, from a Condé Nast model in Jazz Age New York to fashion photographer, creating stunning images that imbued fashion with her signature wit and whimsy. She was a woman who refused to be penned in, a free spirit constantly on the move from New York to London to Paris, from husbands to lovers and back, from photojournalistic objectivism to surrealism.
This process is experimental and the keywords may be updated as the learning algorithm improves.Fashion model, surrealist artist, muse, photographer, war correspondent-Lee Miller defies categorization. These keywords were added by machine and not by the authors. 3 Other British scholars such as Janice Winship, Lucy Noakes and Jo Spence have examined Woman’s Own and Woman magazines and have found, like Rose, that the ideal female citizen during WWII was expected to make a “vital contribution to the war effort while maintaining her femininity”. There he told British women that their combination of “age old vanity” and “new courage” meant that they were “ready for anything - even the continuance of your coiffure in an air-raid shelter whilst a battle royal is raging overhead”. 2 She provides, among many, the example of Antoine, one “famous man”, writing in the spring of 1940 in the popular Woman’s Own magazine of his “ideal woman”. Which People’s War?, that “glamour” and what she dubs “sexualized femininity” were “marshalled” at various levels of popular and official discourse “to make acceptable the ‘gender-bending’ obligations of citizenship for women” during the Second World War in Britain. Rose convincingly argues in her acclaimed book. There is now an established literature on the role British women’s magazines played in extolling the double-edged tenets of female “beauty and duty” in WWII Britain.
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