Southern Fashion

Charlotte Payne - Magazine Covers and Etc.Off and on for years I had heard my relatives talk about what a big-time New York model their childhood friend Charlotte Payne had been. I tended to take such effusions with a grain of salt. They also went on about how my Uncle Vernon played some ball for the Washington Senators, but I’ve never been able to find a trace of him in the major league record books.

But while I was in Laurel, Mississippi, my hometown, for Christmas in 2009, my Aunt Nell took me and my wife with her to visit an old family friend, a relative of Charlotte Payne’s. When prompted, the lady opened a closet and hauled out two big cardboard boxes bursting with photographs, clippings and tear sheets and set them on her dining room table.

Charlotte PayneOur jaws dropped. Our eyes popped. The memorabilia was amazing. In some shots, Charlotte Payne looked like January Jones, the actress who plays ad mogul Don Draper’s wife on Mad Men. But she was also something of a chameleon, her look changing from shoot to shoot. This probably accounts in part for why she must have been just about the workingest model of her time. There were hundreds of photos and clips in the boxes. She posed in everything from swimwear to business suits to evening gowns. She appeared on the covers of Life magazine and Harper’s Bazaar and Vogue, wrote about her life in the fashion world for Collier’s and the Saturday Evening Post.

Not long thereafter, I emailed a contact person listed on the website for Laurel’s Lauren Rogers Museum of Art which, just so you know, is quite likely the finest small-town museum in America. As a kid, I spent almost as many summer hours on the cool cork floors of its galleries as I did on the baseball diamond.

Charlotte PayneIn my email, I raved about this treasure trove of fashion history my wife had seen at a house a mere three blocks from the museum. The contact person emailed me back about a week later and said thanks. Said somebody would check it out when they had time.  I did not hold my breath.

But someone did check it out eventually, and that’s how the Lauren Rogers Museum ( came to mount a Charlotte Payne exhibit that it’s calling Focus on Fashion.

Scheduled to open June 21, it will consist of 50 fashion photographs of the late Ms. Payne dating from the mid-1940s to the early 1960s, plus an under-glass display of magazine covers and ephemera.

“I was impressed with the quality of the photos and the vast range of types of work represented, from early commercial ads to high-fashion Paris Vogue shoots,” Jill Chancey, the Lauren Rogers curator, told me recently.   “I also thought the group as a whole did a nice job of representing the shifting styles in both fashion and the way fashion was photographed during the post-war period.

Charlotte Payne“Paris has always been a fashion center,” Chancey said, “but New York became much more important in the post-war period in many areas, from painting to fashion to finance.  Payne was there through the transition.”

A grocer’s daughter, Payne was a high-school beauty, crowned “Miss Laurel” in the late 1930s. She was “discovered” a few years later on a trip to New York and signed a contract with the prestigious John Robert Powers agency. Looking younger than her years, she started as a juniors model and picked up more adult work as she aged.

Chancey said she found it interesting to compare Payne’s “career arc” to those of contemporary models, “who tend to stick to one genre for the most part, either commercial or high fashion or runway.  Mid-century models had to be very versatile.  The idea of a 20-plus model switching from juniors to adult fashions would be unheard of today, since they start so young and usually are phased out of the business by age 30 – unless they become entrepreneurs and figure out how to brand themselves.  The agency system and expectations of models have changed so much in 50 years. There was no concept of the ‘supermodel’ until the mid-late 1960s. Charlotte Payne predates that concept.”

Charlotte PayneChancey believes the exhibit has both artistic and historical significance and will appeal to different visitors for different reasons.

“Vintage fashion from the 1950s-early 1960s is very popular right now, and I think people interested in clothing and textile history will find a lot to interest them,” she said. “There also has been a renewed interest among art photographers in ‘staged’ work, as opposed to the 1960s-1970s trend of ‘snapshot’ or ‘street’ photography, so this work may appeal to budding photographers looking for new inspiration and ideas.

“The development of fashion photography in the United States really dates to the 1930s and becomes an art form in the following decades,” Chancey said.  “Vogue only started using photos on the covers in the 1930s, as a matter of fact, having previously used illustrations.  I think the arc of advertising changes – as one sees in Mad Men—is visible in the changing aesthetics of fashion photography. This isn’t so much a ‘local girl made good’ story – although some will see it that way — as a snapshot of the fashion industry at a very specific and transitional period in time.”

Charlotte PayneCharlotte Payne

Focus on Fashion is scheduled to run through August 14.


Editor’s note: All photos were provided by the Lauren Rogers Museum of Art. You may click on any photo in this story for a larger view.

Noel Holston

Noel Holston

Noel Holston, originally from Laurel, Miss., is a freelance journalist, songwriter, storyteller and actor who lives in Athens, Ga., with his wife, singer-songwriter Marty Winkler. In a previous life, he was the TV critic at Newsday in New York and, before that, a critic and feature writer for the Minneapolis Star Tribune and The Orlando Sentinel.

  1. I saw an interview on TV today about this exhibit at LRMA. I have lived in Laurel most of my life and have never heard of Charlotte Payne. This is the most informative article/blog I found about her. So-o-o interesting!

  2. Noel Holston

    Hi. Thanks for the feedback on my article. I have great affection for the museum (and the libarary that was in its below-ground floor in my childhood years). Unless you have relatives in Laurel in their 70s and 80s, it’s understandable you wouldn’t have heard of Charlotte. She kept a very low profile after she retired from modeling in the mid-1960s. My mom and my aunt went to school with her and her siblings.
    Again, thanks for reading. I post stories fairly often on Like the Dew, everything from nostalgia to current political comment. It’s a wonderful site for writing about the south — then and now.

  3. Dear Mr. Holston, In my late father, Hiram Haydn’s memoirs: WORDS AND FACES, on pages 84 – 85 describe how Ms. Payne “… burst into a stream of rapid chatter.” when she entered the office he temporarily shared with someone he felt sure she wouldn’t mind being interrupted to know. “Charlotte”, (he) said, “I want you to meet William Faulkner. Mr. Faulkner, Miss Payne.” At first she didn’t hear the name, went on about what she had to say. Then it hit her. “Why, Mr. Faulkner,” she said, “Mistuh Faulk-nuh. Why, I guess this is the proudest moment of my life.” On page 84 Dad wrote, “She had discovered that there was more to the process than writing if one desired also to eat. Being naturally gifted, she became a Powers model.” Dad had edited her first novel, MILO (Bobbs Merrill). The meeting with Faulkner took place at Random House in January of 1955. Her second novel, WATCHING AT THE WINDOW, was published by Bobbs Merrill later that year.

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