Page 192 - B-ALL#32 FR

Its graphic composition is the richness of this magazine and the exhibition tells the construction of the myth through the sketches, photos and patterns that fed this inspiration.
From its launch in 1867 in New York, Harper’s Bazaar fell in love with the feminine cause with its first editor Mary Louise Booth, suffragist, abolitionist and Francophile. Cocteau, Picasso and Matisse will be among the many French artists whom the magazine surrounds itself with while the Parisian couturier Charles-Frederick Worth makes the front page and Paul Poiret inspires the drawings of summer in the Roaring Twenties.
Avant-garde luxury magazine, the creations of Madeleine Vionnet and Elsa Schiaparelli with illustrations by Cassandre give it a metaphysical and ancient dimension. Diana Vreeland alongside Carmel Snow and Alexey Brodovitch pro- pelled the title to the top. In 1947 with Christian Dior’s New Look, it was the Golden Age but the 1950s called Bazaar into question as Audrey Hepburn shows in the film Funny Face to arrive at the Pop and Op revolution in the futu- ristic number, April 1965.
Thereafter, photographer Hiro was inspired by kinetic art with his colors and his flashes. The ‘70s brought a colorful and brilliant new edition to dance before the disco years set the tone for the ‘80s Bazaar. It was in 1992 that the artistic direction revived the classic elegance of its beginnings.
The exhibition is the first devoted to a magazine as a fundamental player in the fashion system and opens the doors to an imagination
with brilliant and surprisingly youthful inspiration despite the years.