All the Rage: Stories from the Frontline of Beauty: A History of Pain, Pleasure, and Power: 1860-1960

by Virginia Nicholson

A panoramic social history that chronicles the quest for beauty in all its contradictions—and how it affects the female body.Who decides what is fashionable? What clothes we wear, what hairstyles we create, what colour lipstick we adore, what body shape is 'all the rage’. Thestory of female adornment from 1860- 1960 is intriguingly unbuttoned in this glorious social history. Virginia Nicholson has long been fascinated by the way we women present ourselves – or are encouraged to present ourselves – to the world. ‘Women have been fat or slim, hyperthyroid or splenetic, sallow or pink-cheeked, slouched or erect, according to the prevalent notions of beauty…’ Cecil Beaton, The Glass of Fashion (1954), In this book we learn about rational dress, suffragettes' hats, the Marcel wave, the Gibson Girls, corsets and the banana skirt. At the centre of this story is the female body, in all its diversity – fat, thin, short, tall, brown, white, black, pink, smooth, hairy, wrinkly, youthful, crooked or symmetrical; and – relevant as ever in this context – the vexed issues of body image and bodily autonomy. We may even find ourselves wondering, whose body is it? In the hundred years this book charts, the western world saw the rapid introduction of new technologies like photography, film and eventually TV, which (for better and worse) thrust women – and female imagery – out of the private and into the public gaze.

Genres: Nonfiction, History, Fashion, Pop Culture, Feminism

519 pages, Kindle Edition

Published August 6, 2024

About the author

VIRGINIA NICHOLSON was born in Newcastle-upon-Tyne in 1955. Her father was the art historian and writer Quentin Bell, acclaimed for his biography of his aunt Virginia Woolf. Her mother Anne Olivier Bell edited the five volumes of Virginia Woolf’s Diaries.

Virginia grew up in the suburbs of Leeds, but the family moved to Sussex when she was in her teens. She was educated at Lewes Priory School (Comprehensive). After a gap year working in Paris she went on to study English Literature at King’s College Cambridge.

In 1978 Virginia spent a year living in Italy (Venice), where she taught English and learnt Italian. Returning to the UK in 1979 she re-visited her northern childhood while working for Yorkshire Television as a researcher for children’s programmes. In 1983 she joined the Documentary department of BBC Television.

In 1988 Virginia married screenwriter and author William Nicholson. Following the birth of their son in 1989, Virginia left the BBC and shortly afterwards the Nicholsons moved to East Sussex. Two daughters were born in 1991 and 1993.

Living in Sussex, Virginia became increasingly involved with the Trust that administered Charleston, home of her grandmother the painter Vanessa Bell, in due course becoming its Deputy Chairman. Her first book (co-authored with her father) CHARLESTON: A Bloomsbury House and Garden was published by Frances Lincoln in 1997. In 1999/2000 she made a ten-city tour of the USA to promote the book and Charleston itself.

In November 2002 Viking published AMONG THE BOHEMIANS - Experiments in Living 1900-1939 to critical acclaim. Its publication by Morrow, USA in February 2004 was followed by a sell-out lecture and publicity tour round five American cities.

SINGLED OUT - How Two Million Women Survived Without Men After the First World War, was published in August 2007. In this latest book Virginia Nicholson has set out to tell the stories of a remarkable generation of women forced by a historic tragedy to reinvent their lives. Singled Out received a spate of enthusiastic reviews which applauded it as a pioneering and humane work of social history. The work on this book was combined with her continuing commitment to the Charleston Trust.

Reviews

[Megan · Rating 3 out of 5]

As women, we are our own worst enemies. I don't know why I continue to read books on feminism and gender equality, when the ending is always the same: women have been oppressed for centuries in a myriad of different ways, every time there seems to be progress, it only comes with more setbacks than opportunities. Fashion and makeup and appearance and the fixation on youth, the idea that a man is a "silver fox" at 60, 70, while women over a certain age (take your pick) better hope they're married to a man who loves them and never leaves them, because they're all but invisible in the public eye once they no longer retain their youthful glow.

Nicholson's book wasn't my favorite that I've read in this genre of nonfiction. It also wasn't the worst. It was just really dry, and not in an academic way where hey, it might be ultra dry, but the knowledge you're gaining as a result of your effort is invaluable.

There are interesting bits scattered throughout this book, starting with the Victorian era and ending around the 1960s with the advent of the bikini, plastic surgery, and crash diets/the desire to be thin. So many of the facts interwoven with personal stories become overly detailed, which is problematic when they're not overly interesting, or even of much value to understanding society and women's role in it.

It is a constant theme throughout the book that no matter what new trend emerges for women, it will inevitably be policed by men (and other women - I don't quite remember if it goes too into detail about the role women play in continuing to keep gender inequality alive and well by repeatedly making snarky, derisive jabs at other women - from their best friends to complete strangers). The tendency for such a large number of women to do this is mind-boggling, and it continues to allow for men to do it. It's annoying as hell.

Sure, I'll insult women and say awful things about them. Just as I will men. However, I do this on an extremely limited basis, and a few of my male friends all agreed that while "I don't think like a man", I certainly "don't think like a woman, either." Apparently I think and act "like a Megan", which was a funny and nice thing to say, I think? Ha. It was when I mentioned to my best friend (who is gay) that "while I'm sure a lot of women are catty and talk trash about women they don't even know, it can't be that bad." This is when I explained that the only women - as well as men - that I'll trash are ones who have made inappropriate or rude comments about me, as well as people who have done really shitty things for no apparent reason and interfered with my life. Even then, though - I don't get into fights with them or bother talking trash to them. I'll just complain to a close friend or two what a complete imbecile they are, then move on. It's bad enough to do in high school, but really, after you're done with that, you maybe have a couple of years to come to the realization that you're no longer a teenager, and that it's rather pathetic to continue to badmouth women on flaws you perceive them to have.

Anyway, I'm rambling, so I'll cut to the chase - when I said this to my friend, that surely it couldn't be that bad, surely I couldn't be one of the only women to not trash talk my friends or complete strangers, he just stopped talking, leveled this stare at me which is his "You're joking, right?" look, then proceeded to ask me that exact question. No, I really wasn't. However, he told me that "as a gay man who has hung out with countless women of all types of professions, all types of personalities... I really can say that you're about the only one I know who doesn't do this at all. Yes, of course many women are worse than others, but it seems as if they all do it to some degree..."

Not that that's in any way a positive thing for me, being the exception. No, I'd much rather prefer to be amongst the rules. I'd certainly hope it wouldn't be very prevalent among my female friends on Goodreads, seeing as how being a voracious reader allows you to have much more important topics and ideas to discuss than what Jenny is wearing today.

It's strange how in this book it starts off with women needing to be completely covered with layers upon layers of garments (corsets, stays, cage crinolines) - constraining them, suffocating them, rather literally - women suffragists of the time mused about "in our current state of dress, how can women possibly ever expect to obtain job equality and equal pay with men?" - and literally, as they had a terribly difficult time getting ready, moving about, and of course, getting undressed. They were just a decorative, shiny object for men to show off. By the end of the book, women are in skimpy, barely there bikinis, putting entirely new sets of constraints upon them, and anxieties for them to contend with. After all, only a certain body type, with measurements of bust, chest, and waist falling into the "appropriate numbers" for what was deemed to be attractive by men, could wear one without feeling self-conscious.

As others have said, and as expected, it is an infuriating read, but that's not why I'm only assigning it three stars. It just lacked any really cohesive or engaging narrative and I didn't find myself being drawn in at all while working my way through it. It felt more like an assignment, I suppose. If I rated all of these books on how infuriating they were, they'd all be one-star reads. For example, these two lovely passages:

p. 50: "Womankind was otherworldly, but she was also domestic, docile, passive. These ideals were absorbed through poetry, but also through advertisements, magazines, art, fashion and fiction. The illusion had to be maintained. Dora Spenlow, Dickens's heroine in David Copperfield, famously exemplifies the female's enchanting delicacy, alongside the fatuity of her existence. Copperfield's child bride (ew) is 'Little Blossom', tiny of stature: a frivolous, elflike baby who bursts into tears over trifles, counts on her fingers, and in due course expires, innocent, incompetent, capricious, and curly-haired to the last... maintaining the distinction between man and woman was not just about fulfilling one's domestic destiny with an adorable child bride; it was about power, fear and control."

p. 378: "However, Gentlemen Prefer Blondes would not pass the Bechdel test - the test, the principles of which were set out in a 1985 comic strip by cartoonist Alison Bechdel, is a measure of the representation of women in fiction. A work passes the test if it has at least two female characters who talk to each other about topics other than men."

Wow, the sad part about this is that it's still true of today's entertainment. It's rare to find fictional written work, television series, or movies in which women don't inevitably stray into gossiping and giggling over the men around them or men in general (as though truly scandalized by every meaningless comment). However, to blame the "patriarchy" is just mere convenience. If we ever desire change, to stop being treated as though we come with an expiration date, then we don't need to "support other women" with bizarre cheerleading and endless barrages of compliments (especially when said women are competing with us in the work place - that's the only time it should be acceptable and encouraged for women to compete with one another). Remember that equality isn't about distinction between the sexes - "I can't believe she created such an ingenious product and now owns a billion dollar business! What a girl boss!" - no, that needs to stop. Equality isn't about constantly obsessing over every step of progress women make, and it certainly isn't about ridiculing men. It's about acting like a normal human being and treating your coworkers the same. With respect, but also as competition, if necessary.

I don't think I can ever do a review for a book on these subjects without interjecting my personal rants. Haha. If it wasn't so blatantly obvious where the change needs to start, perhaps I wouldn't. Anyway, while I can't really say I recommend this book - and I love books relating to fashion AND feminism - I'm sure there are some readers it will appeal to. I just feel like there are better options out there. Laura Bates remains one of my favorite authors on current-day feminism and misogyny.

[Christina · Rating 4 out of 5]

This is called ALL THE RAGE because, once you get to the end, you will be furious at the impossibility of womanhood.

The only thing this is really missing for me in this book is the why. Why must women look young? Why must women be slim? We are told the trends of the time, but there is no exploration into why these trends existed.

The thought that everything we wear, every beauty product we apply, and everything we're told our bodies should be is designed for the male gaze makes me want to puke.

[Hannah · Rating 2 out of 5]

This book reviews fashion, both clothing and women's bodies, from the mid-Victorian era through 1960.

It's interesting enough, but reads as more of a series of loosely connected anecdotes without an overarching theme. It also focuses more on women's bodies, in my opinion, and how fashion either concealed, shaped, or showed them off.

Finally, the style was slightly confusing. The book is written as popular history for the most part, with footnotes and sources etc. But the author also emphasises her familial relationship to Virginia Woolf in a way that feels out of place, for instance with barely relevant stories about her and her husband. Some may find the book because of who the author is and appreciate the stories, but for someone who was just reading for a history of fashion they were superfluous.

[Arthur Williams · Rating 4 out of 5]

While men go to war with other men to change their world and sate their ambition, women seem to have to go war with themselves to accomplish the same.

A history of the economic and societal toll that has been placed upon women since the mid 1800s as beauty became an expectation rather than just a trait. This book traces the often insane lengths women felt they had to go for beauty and also traces the parallel lines between political freedom and societal slavery as women gained so much to end up once again as another body, another commodity, and another hoping for much more, and a beauty that dresses cannot bring.

A high level overview but a good and entertaining read filled with anecdotes and stories of women standing at the precarious heights of fashion.

[Chandra · Rating 3 out of 5]

This is an engaging and comprehensive overview of women's fashion and the forces at play over a hundred year period. America and Britain are both explored. The 19th century portion is highly addictive, as is the 1940 to 1960 era when beauty pageants and bikinis held sway. Though I would have preferred to hear rather less about the author's connection to Virginia Woolf and Quentin Bell, I appreciated the author's feminist viewpoint. As a late blooming Gen X'r, I've always rolled my eyes at the concept of the male gaze. But with cameras now literally ubiquitous, it feels very, very relevant.

[Edie Lee · Rating 5 out of 5]

I’ve read lots of books on the history of fashion and after a while they seem the same. But “All the Rage” gave me lots of new information with interesting slants on the subject. It’s more than just what women wore, it’s how they wore it and why they wore it.

We begin in 1860 as the garments gradually shed until we land in 1960. But has the oppression of fashion changed through the years? Women hid their bodies in those early days. They manipulating them through corsets and fabric. By the end of our story women still try to mold themselves This time they strive to a new ideal through dieting, exercise and plastic surgery.

Along the way the book gives us examples, interviews, and case studies showing extensive research. I thought it one of the finest books of its type.

[LillyBooks · Rating 3 out of 5]

I loved the first half to two-thirds of this book when it discussed how clothing was used to reshape a woman’s body, how those fashions came to be, the social causes and impacts of them, etc. But then, the focus shifted from clothing to body modifications such as make-up, dieting, and plastic surgery. By the end, clothing was barely mentioned, and some enjoyable sections were dropped altogether. Topically, this was a reasonable and logical extension of Nicholson’s thesis, but it just wasn’t what interested me the most.

[Amy · Rating 3 out of 5]

I enjoy reading about fashion and history and the way clothing reflects the values of an era. The author describes how clothing was used in the nineteenth century to restrict the mobility of women and hinder their access to a world outside the home. As the decades progress, she questions whether the uncovering of women's bodies was liberating or just a form of exploitation. It's interesting how women's bodies have always been so heavily monitored and judged by powerful people in society.

[Mary · Rating 3 out of 5]

A really interesting read - some of which I already knew, some of which was a horrific surprise (the bits on early cosmetic surgery). It's interesting to think about where beauty pressures come from and how things have moved on from controlling the body with fashion to controlling it with surgery, but always, always the external control and pressure is there.

[Julia · Rating 5 out of 5]

The most entertaining, thought provoking, intelligent discourse on this subject that I’ve read . I thoroughly recommend this book to anyone interested in social history in the last hundred and fifty years or so with a feminine slant

[M A R I E ⋆:･ﾟ✧:･.☽˚｡･ﾟ✧:･ · Rating 4 out of 5]

Loved the social history of fashion and beauty in the day to day lives of women. She goes beyond high fashion to everyday makeup and lipstick, shape wear, and what every day women wore and how it reflects history. An interesting read.

[Jasmine · Rating 5 out of 5]

This book was amazing. So interesting as a beauty and fashion lover. Learned so much - highly recommend to anyone that’s interested in beauty, fashion, and womanhood. LOVED

[Dawne · Rating 5 out of 5]

Amazing social history of 100 years of the love/hate telationship between women and standards of beauty. I look forward of reading more of Nicholson's social histories of women.