For the first time in the illustrious history of British Vogue, the magazine’s new editor was aptly honored with a photograph and a succinct biography. The announcement read, “Ailsa Garland, previously the Vogue Export Book fashion editor and more recently the assistant editor of the Daily Mirror, has ascended to the role of editor at Vogue.” This introduction was paired with an image of John Davenport, who was described as a “distinguished writer, broadcaster, and novel critic for the Observer,” marking his transition to the features editor position, succeeding Penelope Gilliatt. While Garland’s introduction was notably brief, Davenport was given the creative freedom to express himself more fully in his inaugural column titled With Love and Apologies. He dramatically wrote, “Something rather terrible has happened. A bull has crashed into the china shop. Can we keep the metaphor animal, and say that a gorilla has taken the place of a gazelle? Penelope Gilliatt scampered and kicked up her heels and sometimes disappeared into the future. This I cannot do. An ageing ex-heavy-weight boxer, I can only look down from my tree.” Davenport pledged to present readers with contributions from “some of the wisest, cleverest, and nicest people on earth,” promising to entertain and enlighten them regarding the past so that they could better understand the present.
In her autobiography, Audrey Withers recounted her sentiment of having reached a personal and professional crossroads at Vogue, particularly as fashion began to dominate the magazine’s content while features, which intrigued her greatly, became less prominent. However, it is crucial to highlight that under Ailsa Garland’s leadership, the features remained as compelling and thought-provoking as they had been under her predecessor. While the fashion sections may have claimed more space, leading to an increase in visual focus on clothing and beauty, Garland remained steadfast in her dedication to high-quality journalism. Her commitment ensured that Vogue did not compromise on reporting standards, continuing a tradition of excellence in its editorial content. A pivotal shift took place during the early 1960s, characterized by a vibrant evolution of the British art scene, which was mirrored by the changing dynamic of its leading figures.
In an exemplary showcase of this spirit, Peter Rand captured the essence of four groundbreaking artists—David Hockney, John Howlin, Ian Stephenson, and Howard Hodgkin—in a stunning series for the August 1963 issue of British Vogue. This illustrated the magazine’s ongoing engagement with contemporary culture while reinforcing its status as a cultural touchstone during a transformative period in British aesthetics.
