Harper's Bazaar: 150 Years

The Greatest Moments

,

• Publisher: Abrams
• Year: 2017
• Print ISBN:
  9781419723940
• eBook ISBN:
  9781683350071
• Topic: Art
• Subtopic: Fashion Design

Abrams, New York

THE GREATEST MOMENTS

CREATIVE DIRECTION BY

ELIZABETH HUMMER

GLENDA BAILEY

Opposite:

Linda Evangelista on the September 1992 cover, photographed by Patrick Demarchelier.

Previous spread:

Jean Shrimpton, helmet by Mr. John, on the April 1965 cover, photographed by Richard Avedon.

CONTENTS

INDEX

396

ACKNOWLEDGMENTS

399

FOREWORD BY GWYNETH PALTROW

4

INTRODUCTION BY GLENDA BAILEY

6

OUR BAZA AR

In the beginning, from the Gilded Age to the Jazz Age.

8

ASTONISH ME

The making of the modern fashion magazine.

26

WHAT’S HAPPENING

Space, race, and radical chic:

Bazaar

takes on the turbulent 1960s.

106

THE EDITOR’S EYE

The fashion magazine with “a little salt and pepper added.”

166

THE ERA OF ELEGANCE

Kate Moss, the Clinton years, and the creative renaissance.

184

FASHION’S BACK

Bazaar

in the 21st century.

236

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4

TRULY GROWING UP involves closing the gap

between who you are and who you want to be—getting

closer to the essence of yourself. One hundred fifty years

is longer than a lifetime, and the differences between

where we were in 1867 versus where we are now—as

women, as a culture—are incredible to contemplate.

Seeing that evolution through the lens of

Harper’s Bazaar

is even more striking.

A human being looking at a photograph gets back

“clouds of fantasy and pellets of information,” as Susan

Sontag once put it—much of that fantasy self-projected. If

a photograph is a moment in time, then a magazine is some-

thing of a monthly time capsule. It’s a little strange—and

an enormous luxury—to see the chapters of your own

life chronicled in the pages of a magazine. It’s a bit like

looking at a really amazing photo album—one created

using the most talented hair people, makeup artists,

lighting specialists, stylists, and photographers on earth.

But what I see when I look isn’t that glamorous image.

I was twenty-four when I did my first

Bazaar

cover. I’d

just gone through a really bad breakup, and I hadn’t eaten in months. That’s what I see when I first look at it: the grief

and not eating. We had gone to shoot out in the Hamptons, and I was so young that I didn’t know that you don’t try to

drive back to Manhattan on a Sunday night. The makeup artist, Kevyn Aucoin, and I got into the back of this van, and

I chain-smoked while he deejayed as we sat in traffic on the Long Island Expressway for hours and hours. When I finally

got out of my seat, my ass was numb, so Kevyn hoisted himself up and began punching me in the rear—you know, to

get the blood flowing. We couldn’t stop laughing. That’s what I think of when I look at that first cover: being young

and stuck in the back of that van, laughing with Kevyn like that moment was never going to end.

When I look at the cover with the long hair and the big boobs, I think of the period when I was breast-feeding. I’d

taken some time off to have kids and be at home, and I felt self-conscious because of my boobs and my weight, but mostly

because I’d been out of circulation for three years. I was just psyched that someone migh...

Table of contents

• Cover
• Title Page
• Copyright Page
• Back Cover