A testament to a changing America on every level, Daves’s Vogue was responsible for a number of innovations: It was the first to embrace a “high/low”blend of fashion in its pages, while Daves was considered a pioneer in her efforts to create “fashion with a merchandising backbone,” which basically means that she worked tirelessly to create strong and profitable relationships between designers, manufacturers, retailers and Vogue. If you could see it in Vogue, Daves demanded that you be able to buy it, too, and in a timely manner. Believing that “taste is something that can be taught and learned,” Daves, and her features editor, Allene Talmey, introduced world-renowned artists, literary greats, and cultural iconsinto every issue with renewed vigor. Daves’s art director, Alexander Liberman, imbued the magazine with his masterful visual artistry, from inventive page layouts and world-class photography, to his own profiles of major artists, including Picasso and Giacometti. Vogue of this era offered readers a complete vision of how design, interiors,architecture, entertaining, art, literature, and culture all connected and contributed to refining anddefining taste and personal style. As such, between 1952 and 1962, Daves’s Vogue profiled numerous icons of American style, from John and Jackie Kennedy to Charles and Ray Eames, alongside some of the most extraordinary fashions from around the globe. Exquisite creations by Dior, Chanel, Givenchy, and Balenciaga (this was, after all, the Golden Age of Couture), appeared alongside the best of American fashion design by Claire McCardell, Norman Norell and Galanos.