As Vogue celebrates its 125th year, we look back at the history of fashion, and the magazine, in a series of “five points” videos by decade, narrated by the stylish Sarah Jessica Parker.

1930–1939The flapper was a casualty of the stock market crash of 1929. Out of her ashes rose the femme fatale. At night she was a modern Diana in figure-molding bias-cut satins that oozed to the floor. By day, she might play with a Surrealist as served up by Elsa Schiaparelli. Then war came, and removed frivolity from fashion.

THE LONG RUNHemlines were lengthening before the Great Crash of 1929; they fell to the floor after that debacle and stayed there for quite a while. There was nothing prim about these sweeping hems, however. The abbreviated silhouette was traded for a long, sculptural one built along classic lines that emphasized the figure within the frock. Madeleine Vionnet’s diagonal bias-cutting technique resulted in dresses that were sensuously molded to the body. Such perfection as not easily come by; “simplicity,” noted Vogue, “is a complex art.”

LOVE SCHIAPEven more complicated was the kismet that brought Prince Edward into the orbit of an American divorcée named Wallis Simpson, for whom he’d abandon his throne and be exiled from his sceptered isle. Theirs was a romance that was well chronicled in Vogue by John McMullin, the magazine’s “As Seen by Him” columnist, and Cecil Beaton, who were part of the royal entourage. Before she married her prince in a Wallis blue Mainbocher design, Beaton famously captured her posing in some splendors by Elsa Schiaparelli, including the “lobster” dress hand-painted by Salvador Dalí.