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reinforcing the "masculinization" of female gender identity, it considered sexual mobility between femininity and masculinity to be the distinguishing feature of women's fashion. In a fashion layout in 1926, the female figures retain feminine styles in their ruffled shirts and ribbon bow ties but appropriate at the same time as excess of masculine styles in their dinner suits and waistcoats which deemphasize the body.
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individualization of the modern women, showing geometrical silhouettes arranged in a chorus line. In his works illustrated that women's experience of fashion are completely detached from the understanding of everyday life. They carried the markers of self-centered arrogance that invited many critics of the New Woman to misunderstand the New Woman.
64:(English: Illustrated Women's Newspaper) because the company founder Leopold Ullstein's five sons had already recognized that many women were affluent consumers but that Ullstein had no products specifically for them. The newspaper's content was thrifty advice on fashion and housekeeping. In 1912, the
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introduced the spring fashion season with a manipulation of traditional gender roles: sketches of female models in smoking jackets and short masculine haircuts and are accompanied by male models who dress in a similar fashion. Although this representation of the New Woman was frequently condemned for
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In World War I, the men had gone to the battlefields and women had to take over the men's jobs. They worked in war factories, hospitals, farms, shops, and single-handedly cared for the children. When the men came back from the war, some of the women resented being pushed back into domestic jobs. By
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There is no reliable information about the magazine's readership, but the publisher's concept and price suggest that it circulated among women of the middle and upper-middle classes. A single issue of the journal, which by 1939 had reached a circulation of 32,870, cost 1.50 Reichsmark in the 1920s,
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In 1930, Dryden produced a cover design showing an elegant woman clutching a dog and standing in front of a
Bugatti. His cover for November 1928 showing a languid beauty in the middle of a vast circle of sports cars all pointed lustfully towards her, is an image of the Jazz age Woman to match
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before being published in book form. By 1927 the photographs of female fashion editors and illustrators disappeared from the pages. Their work was given less and less visible space in the magazine, while Dryden's drawings and essay took over the magazine. His fashion layouts denied the
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early 1921, there was a labor shortage and the women were enticed to go back to work. Women's labor and female workers had become widely noticeable since World War I. This caused social disruption and gender recasting. In addition, women were granted the right to vote.
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continued to be published under Nazi rule even though their publishing house, Ullstein, was expropriated because it was a Jewish family enterprise. Helen Grund was one of the few fashion journalists of the 1920s whose careers remained.
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in
Germany to cater to the interests of modern women. It was also considered the "best journal of its kind in the world market" after the First World War. The lifestyle magazine began in 1911 and ended in 1943.
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In the early 1920s, the magazine promoted independent and career driven women. Most of the original fashion layouts and cover pages were created by mostly female designers and artists such as Erica Mohr,
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was finally discontinued two years before the end of the war because, as the edition stated, "manpower and material need to be freed up for other purposes in the interests of the war economy."
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consisted of essays, illustrations, and photography. The magazine was most active during the shift from the early 1920s, when the magazine celebrated the independent
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was publicized by
Ullstein as "the society magazine with an international reputation" and the German luxury magazine with the highest circulation (50,890) in 1929.
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113:. The article discussed the phenomenon of fashion within a broader and cultural-historical frame in hopes of enlightening women. In 1923,
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In 1925, a
Viennese designer, Ernst Dryden, was named chief artistic director of
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Women in Weimar
Fashion: Discourses and Displays in German Culture, 1918-1933
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and costume historian Max von Boehn were granted a large amount of space in
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The
Science of Beauty: Culture and Cosmetics in Modern Germany, 1750–1930
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Joyless
Streets: Women and Melodramatic Representation in Weimar Germany
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s design team which caused the magazine to become more popular.
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Best-sellers by Design: Vicki Baum and the House of
Ullstein
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ten times the cost of a copy of the popular daily newspaper
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Defunct illustrated women's magazine in
Germany (1911–1943)
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Janina Dłuska, Cover design for Die Dame magazine, 1920s.
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In 1912, the Berlin publishing House
Ullstein bought out
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330:Nazi Chic?: Fashioning women in the Third Reich
419:Defunct women's magazines published in Germany
39:(English: The Lady) was the first illustrated
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166:celebrity, Tamara's iconic self-portrait.
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240:Ramsbrock, Annelie (20 May 2015).
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424:Defunct women's fashion magazines
399:Defunct German-language magazines
394:1943 disestablishments in Germany
299:King, Lynda J. (1 January 1988).
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409:Magazines disestablished in 1943
305:. Wayne State University Press.
389:1911 establishments in Germany
361:. Princeton University Press.
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414:Magazines published in Berlin
404:Magazines established in 1911
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66:Illustrierte Frauen-Zeitung
62:Illustrierte Frauen-Zeitung
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326:Guenther, Irene (2004).
209:Challenging gender roles
355:Petro, Patrice (1989).
150:Rhapsody: A Dream Novel
246:. Palgrave Macmillan.
99:Julie Haase-Werkenthin
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272:Ganeva, Mila (2008).
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152:) was serialized in
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383:Categories
368:0691008302
312:0814320007
222:References
179:Readership
161:After 1930
148:(English:
213:In 1926,
132:1925-1930
121:, joined
76:1920-1925
334:. Berg.
215:Die Dame
194:Die Dame
173:Die Dame
168:Die Dame
154:Die Dame
138:Die Dame
123:Die Dame
111:Die Dame
70:Die Dame
46:Die Dame
41:magazine
36:Die Dame
28:Die Dame
68:became
56:History
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363:ISBN
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30:1912
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