In 1920 the modalities of feminine beauty were in upheaval and fashion was the banner of the new woman’s liberal style. Already famous in the London magazines for his portraits of fashion beauties, Hoppé chose to make a pseudo-typological study of the world’s most beautiful women, defining an ideal “type” for each country. Britain’s Anglo-Saxon women are compared to their Nordic, Latin, Asian, Polynesian, and African counterparts under the ironical synonym that “Fair” equals "Beautiful". This controversial approach was sure to win Hoppé great publicity, which it did.

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Lady Hazel Lavery, 1916

Viscountess M., 1916

Marion Davies, 1921

Hebe, England, 1917

Kathleen Martyn, 1917

Lilian Gish, 1921

Anna Q. Nillson, 1921

M. di Castellani, 1917

Madame Federova, 1912

Olga Morrison, 1916

Mika Mikum, 1916

Prs. White Deer, 1921

Miss Wellington Koo, 1921

Cuban Woman, 1926

D. W. Indian Woman,1922

Haitian Woman, 1921

New York’s Alfred A. Knopf edition is a large-format limited-edition book with hand-made Batik-style paper binding and masterfully made tipped-in gravure plates. It is an exquisite object by itself (shown above).
London’s Jonathan Cape edition is a smaller format of a more modest binding but has the same high-quality tipped–in gravure plates.

The Telegraph UK, "Hoppé's Book of Fair Women was not about beauty" (2/16/2011)