Vogue Paris

Vogue Paris

Gisele Bündchen on the cover of Vogue Paris, October 2007
Editor-in-chief	Emmanuelle Alt
Categories	Fashion
Frequency	Monthly
Publisher	Condé Nast
First issue	April 1920
Country	France
Based in	Paris
Language	French
Website	vogue.fr

The French edition of Vogue magazine, Vogue Paris, is a fashion magazine that has been published since 1920.

The French edition of Vogue was first issued on 15 June 1920. More information about French Vogue in the 1920s is available in Mary E. Davis's book Classic Chic: Music, Fashion, and Modernism (University of California Press, 2006, ). Michel de Brunhoff was the magazine's editor-in-chief from 1929 until 1954.

Edmonde Charles-Roux, who had previously worked at Elle and France-Soir, became the magazine’s editor-in-chief in 1954. Charles-Roux was a great supporter of Christian Dior's "New Look", of which she later said, "It signalled that we could laugh again - that we could be provocative again, and wear things that would grab people's attention in the street." In August 1956, the magazine issued a special ready-to-wear (prêt-à-porter) issue, signaling a shift in fashion's focus from couture production.

She left Vogue in 1966, as the result of a conflict for wanting to place a black woman on the cover of the magazine. When later asked about her departure, Charles-Roux refused to confirm or deny this account.

Francine Crescent, whose editorship would later be described as prescient, daring, and courageous, took the helm of French Vogue in 1968. Under her leadership, the magazine became the global leader in fashion photography. Crescent gave Helmut Newton and Guy Bourdin, the magazine's two most influential photographers, complete creative control over their work. During the 1970s, Bourdin and Newton competed to push the envelope of erotic and decadent photography; the "prone and open-mouthed girls of Bourdin" were pitted against the "dark, stiletto-heeled, S&M sirens of Newton". At times, Bourdin's work was so scandalous that Crescent "laid her job on the line" to preserve his artistic independence. The two photographers greatly influenced the late-20th-century image of womanhood and were among the first to realize the importance of image, as opposed to product, in stimulating consumption.