La Parisienne according to Madame d’Ora
hough considered a visual medium to contemporary eyes, the fashion magazine was not always inextricably linked with photography. The early days of were marked mostly by words, as flowery prose described collections alongside technical fashion illustrations, and lengthy sentences full of legal jargon debated industry news and events. It would take several years into the first century of for the publication to develop a visual language of its own: a development that is partially thanks to Dora Kallmus—better known as
