Craig Eliason - Didot and Fashion
Summary
TLDRThe script discusses the connection between the Didot typeface and fashion magazines like Vogue and Harper's Bazaar. It traces the typeface's origins to 18th-century neoclassicism, highlighting its idealized form that deviates from traditional lettering. The adoption of Didot by fashion magazines in the mid-20th century is linked to the shift towards photography and a more abstract, idealized representation of fashion, reflecting a cultural move towards modernism and the distancing effect of technology on design.
Takeaways
- 📰 The script discusses the Vogue magazine and its use of the Didot typeface, which is associated with a 'fashion font' style.
- 🔠 The Didot typeface is linked to neoclassical design, having been used by the Didot family in the late 18th century, and is characterized by its high contrast and geometric forms.
- 🎨 The script connects the use of Didot in fashion magazines to the broader neoclassical movement, which was interested in the idealized forms of classical antiquity.
- ✍️ The Didot typeface represents an idealization of writing, with its letterforms being more geometric and less connected to the variability of handwritten letters.
- 🏛️ Neoclassicism in architecture and art was about returning to the basics and finding pure, ideal forms, which is reflected in the Didot typeface's design.
- 📸 The adoption of Didot by fashion magazines like Vogue and Harper's Bazaar in the mid-20th century coincided with a shift towards photography and a more objective, visual representation of fashion.
- 🌐 The change in fashion magazine design in the 1940s, including the use of Didot, reflected a broader cultural shift and the rise of American fashion during and after World War II.
- 🖋️ The script suggests that the use of Didot in fashion magazines was not just about aesthetics but also about the idealized, authoritative structure it conveyed.
- 👗 The fashion magazine style, with its use of Didot and photographic covers, creates a sense of distance and objectivity, which aligns with the idealized form of the models and clothing presented.
- 🎭 The script concludes by suggesting that the Didot typeface, with its origins in neoclassical idealization, is a fitting choice for fashion magazines that aim to present an idealized vision of fashion and beauty.
Q & A
What is the significance of the Didot typeface in the fashion industry?
-The Didot typeface is significant in the fashion industry because it was adopted by major fashion magazines like Vogue and Harper's Bazaar, effectively making it the 'couture typeface'. Its use symbolizes a shift towards an idealized, abstract form that aligns with the fashion industry's focus on stylized presentation.
Why did fashion magazines like Vogue and Harper's Bazaar choose the Didot typeface for their nameplates?
-Vogue and Harper's Bazaar chose the Didot typeface for its neoclassical, idealized character that resonated with the fashion industry's move towards a more abstract and authoritative style. The typeface's high contrast and geometric regularity provided a stark, modern appearance that complemented the evolving visual language of fashion magazines.
How does the use of the Didot typeface reflect the historical context of 18th century neoclassicism?
-The Didot typeface reflects the historical context of 18th century neoclassicism through its departure from traditional letter forms and its embrace of idealized, geometric design. This aligns with the neoclassical movement's broader interest in classical antiquity and its pursuit of noble simplicity and quiet grandeur, as seen in the arts and architecture of the time.
What role did the pointed pen and engraving play in the development of the Didot typeface?
-The pointed pen and engraving played a significant role in the development of the Didot typeface by facilitating high contrast, abrupt modulation, and the independence of stroke width and direction. These characteristics contributed to the modern face type's distinctive appearance, which was a departure from previous typographic styles.
How did the introduction of Kodachrome film in 1936 influence the design of fashion magazine covers?
-The introduction of Kodachrome film in 1936 led to a shift towards the use of color photography on fashion magazine covers, replacing hand-drawn illustrations. This change emphasized a more objective, visual approach, which aligned with the abstract and idealized form of the Didot typeface used for the magazine names.
What is the relationship between the fashion magazine cover design and the concept of the 'ideal body' as discussed in the script?
-The fashion magazine cover design, particularly the use of the Didot typeface and photographic images of models, is related to the concept of the 'ideal body' by presenting a distilled, abstract form that represents an idealized version of reality. This aligns with the fashion industry's goal to showcase clothing in an aspirational, yet universally appealing manner.
Why did the fashion magazines shift from using various artistic styles on their covers to a more consistent design language?
-The shift from various artistic styles to a more consistent design language on fashion magazine covers was driven by the need for a more authoritative and recognizable brand identity. The use of the Didot typeface and standardized cover designs helped establish a clear visual identity that resonated with the industry's move towards a more stylized and idealized presentation.
How does the script's discussion of the Didot typeface relate to broader themes of modernism in design?
-The script's discussion of the Didot typeface relates to broader themes of modernism in design by highlighting the typeface's role in the transition from traditional, hand-crafted styles to a more abstract, geometric approach. This mirrors the modernist movement's emphasis on functionality, simplicity, and the rejection of historical ornamentation in favor of new forms.
What is the significance of the 'idealized character' of the Didot typeface in the context of fashion magazine design?
-The 'idealized character' of the Didot typeface is significant in fashion magazine design because it embodies the aspirational and perfected quality that fashion aims to convey. Its geometric precision and high contrast serve to elevate the presentation of fashion, aligning with the industry's pursuit of an idealized form that transcends individual characteristics.
How does the script's analysis of the Didot typeface contribute to our understanding of the evolution of typography and design?
-The script's analysis of the Didot typeface contributes to our understanding of the evolution of typography and design by illustrating the shift from traditional letter forms to a more abstract, idealized style. It highlights the influence of historical and cultural contexts on design choices and the role of technology in shaping the visual language of fashion magazines.
Outlines
📚 Vogue's Typography: The Fashion Font
This paragraph discusses the use of a specific lettering style associated with the fashion industry, particularly Vogue and Harper's Bazaar. The style is referred to as the 'fashion font' and is linked to the Didot typeface, which has been used for over 75 years. The speaker argues that this font's idealized character was attractive to fashion journalism in the mid-twentieth century. The historical context of the Didot typeface is explored, including its origins with the Didot family in Paris and its connection to neoclassicism. The paragraph sets the stage for a deeper analysis of how and why this typeface became synonymous with fashion.
🏛️ Neoclassicism and the Didot Type
The second paragraph delves into the neoclassical movement, highlighting its emphasis on classical antiquity and the pursuit of ideal forms. It contrasts the neoclassical interest in ancient culture, as seen in art and architecture, with the Didot typeface's departure from ancient letter forms. The speaker suggests that while neoclassical art often emulated classical styles, the Didot typeface represented an idealization of writing rather than a direct copy. This idealization is positioned as a key aspect of the neoclassical movement, which sought to capture the essence of classical forms in a more abstract and idealized manner.
🎨 The Adoption of Didot by Fashion Magazines
Paragraph three examines the historical moment when the Didot typeface was adopted by Vogue and Harper's Bazaar. It discusses how World War II shifted the fashion industry's focus from Europe to the United States, leading to a more self-reliant American fashion scene. The speaker notes that this period saw the rise of New York as a fashion capital and the establishment of New York Fashion Week. The adoption of Didot by these magazines is linked to the need for a consistent and authoritative typeface that could represent the new direction of fashion journalism. The paragraph also touches on the broader changes in magazine design, moving from varied and artistic covers to a more uniform and photographic approach.
📸 The Evolution of Fashion Magazine Aesthetics
The final paragraph reflects on the evolution of fashion magazine aesthetics, particularly the shift towards photography and abstract representation. It discusses how the use of Didot typeface aligns with the move towards more objective and visually distancing techniques like photography. The speaker suggests that the fashion magazine style has become one of stylized anonymity, where both the model and the typeface are presented in an abstract form that emphasizes form over individuality. This approach creates a sense of idealization and objectivity, which is argued to be a fitting representation of the fashion industry's move towards a more global and commercialized aesthetic.
Mindmap
Keywords
💡Vogue
💡Didot
💡Neoclassicism
💡Fashion Font
💡Type Design
💡Modern Face Type
💡Engravers
💡Idealization
💡Fashion Journalism
💡Kodakchrome Film
Highlights
The magazine's style is recognizable due to its use of a specific lettering style, which is also seen in other fashion magazines like Harper's Bazaar.
The lettering style is referred to as the 'fashion font' and has been used by Vogue and Harper's Bazaar for over 75 years.
The Didot typeface, which the magazine's lettering is derived from, was first used by the Didot family, known for their dominance in fine printing in the late 18th century.
Dido's typeface demonstrates a neoclassical approach to type design, rethinking the relationship between written language and typography.
The typeface is an abstract idealization of pen-written letters, which was a significant draw for fashion journalism in the mid-twentieth century.
Modern face types, like Dido, are characterized by high contrast, abrupt modulation, and regular eye-line proportions.
The pointed pen's use in the 18th century writing introduced modulation similar to modern face types, influencing type design.
Engraving, a prominent medium of the 18th century, facilitated high contrast and abrupt modulation in letter forms.
Neoclassicism in the 18th century was marked by a renewed interest in classical antiquity, influencing various art forms including typography.
The Didot family's work coincided with the neoclassical movement, exemplifying it through their choice of texts and illustrations.
Firmin Didot's types are an example of neoclassical idealization, transforming physical writing into a perfected form.
The adoption of Dido typeface by Vogue and Harper's Bazaar in the 1940s marked a significant shift in fashion magazine design.
World War Two disrupted the European fashion world, leading to a more self-reliant American fashion industry and a shift in design focus.
The introduction of Kodachrome film in 1936 led to a change in fashion magazine covers, favoring photography over hand-drawn images.
The fashion magazine style of the 1940s, with its abstract and authoritative structure, was a response to the changing fashion industry and technology.
The use of Dido typeface in fashion magazines aligns with the idealized and abstract presentation of models and clothing.
The fashion magazine style creates a sense of distance and objectivity, which is reflected in the choice of typeface and photographic style.
Transcripts
[Applause]
what magazine is this strictly speaking
it's unreadable as Beyonce has equipped
an entire letter in parts of others but
we know it to be vogue that recognition
is built on our familiarity generally
with the publication and more
specifically with the style of the
letter parts that we can see the same
style of letter is used in the nameplate
of another fashion magazine Harper's
Bazaar in fact we see letters similar to
these and many logos and branding images
connected to the world of fashion I
noticed the CNN smartphone app went out
of its way to signal fashion through a
font change we could call this lettering
style the fashion font this association
is long standing Vogue and Harper's
Bazaar have been using these letter
forms for over 75 years the magazine
name plates derive their letters from
the typefaces produced and first used by
the D doz the celebrated Paris family
who dominated fine printing around the
end of the 18th century today I will
show that the letter forms of the dido
typeface demonstrate a neoclassical
rethinking of the relationship of
written language to type design they are
abstract idealizations of pen written
letters it was this idealized character
I argue that drew fashion journalism to
dido in the mid twentieth century when
the art directors of Vogue and Harper's
Bazaar effectively made it the auto
Couture typeface to understand fully the
appeal of this idealized character
examining the historical context of both
of these moments is necessary my
presentation will begin with a brief
survey of the common understanding of D
DOS place in the history of letter forms
then we'll zoom out and consider the
context of 18th century neoclassicism in
which they first appeared we will see
that classical letter forms are
puzzlingly absent in these neoclassical
types I will make the case that
idealization was an indispensable aspect
of neoclassicism and considered Eidos
fit from that perspective then we'll
fast forward to the 20th century to cast
light on the historical situation
surrounding D doze at adoption by
fashion magazines lastly I will argue to
these circumstances to called for an
idealized form of letter
first what is the conventional
understanding of Dido in the history of
type fairman Dido was the principal type
founder of the family and he is widely
credited alongside Giambattista bodoni
of Parma as the inventor of modern face
type as you all know modern face types
are characterized by high contrast
between stem and hair line width abrupt
modulation from thick to thin vertical
stress horizontal serifs that are often
under akka 'td and regular eyes din
proportions modern face types are often
hailed as revolutionary but they have
also been seen as an expected next step
in the history of type design some CD
dough and bodoni continuing the
direction of the mid 18th century
creations of Fournier legion and
especially John Baskerville which are
consequently labeled transitional going
back further the turn of the century
whole meadow fois project is also
rightly seen as an influential precedent
with its upright rationalized forms but
looking only for precedents and
influences within typography misses the
bigger story of 18th century letter form
design letters resembling Baskervilles
and d dough's appear earlier in writing
as evidenced by copy books that provided
models for wielding a pen we must
consider the dominance of the pointed
pen in 18th century writing which
largely supplanted the broad nib pen
writing with a pressure-sensitive split
in the Upen introduces modulation that
has similar character to modern face
types in the nomenclature of carotenoids
eyes theory of the stroke we can see
modern face letters as being composed of
expansion strokes rather than
translation strokes the strokes thicken
at will rather than their width being
married to the direction of the stroke
in addition to the pointed pen the role
of the engravers Buuren should be Buuren
should be cited it too facilitates high
contrast abrupt modulation and the
independence of stroke width and stroke
direction engraving was an increasingly
prominent medium of the 18th century
indeed it was the means of reproduction
for the pen written models of the day
but what can we learn about these letter
forms if we look beyond two other letter
forms that they resemble
how would a broader view of the cultural
context illuminate the intentions and
receptions of DTOs letters the heyday of
the Dido family corresponds precisely
with the dominance of neoclassicism in
French visual culture as is clear from
its name neoclassicism describes the
renewed interest in classical antiquity
the world of ancient Greece and Rome
that was perceived as the high point of
civilization and culture an early iconic
image of neoclassicism is the oath of
the reishi i by french painter jacques
derrida vide it depicts a moment of
civic duty from ancient Roman legend in
a clear and organized style an aesthetic
that resembles the relief sculptures of
ancient Greece far more than the fluffy
Rococo paintings of recent generations
the neoclassical movement crossed
mediums and countries with prominent
adherents including Italian sculpture
sculptor Antonio Canova English
architect Robert Adam and German
theorist JJ VIN Coleman their
fascination with ancient culture is
evident in this sculpture book in
interior design David's first version of
the oath appeared in 1784 the very same
year that the Dido type cited as the
first modern face types were pressed to
paper and the D dos productions did not
only coincide with his passion for the
antique they exemplified it this can
most easily be seen in the Dinos
proudest achievement the addition Duluth
this series of deluxe books were the
crowning achievement of printer Pierre
Dido printed with types produced by his
brother ephemera and with illustrations
directed by their compact compatriot
dahveed a curator called the editions
easily the most significant illustrated
set of books in the period setting aside
typography for the moment we can quickly
see the neoclassical interests in the
choice of texts they are from the
ancient authors Virgil and Horace and
from the more recent genre scene who set
his narratives in the ancient world the
illustrations in the Louisville editions
are likewise firmly neoclassical
executed mostly by students of dahveed
they include ancient settings and dress
toned physiques contrapposto stances and
restrained emotion
in other words they resemble classical
art exemplifying what Benkelman praised
as noble simplicity and quiet grandeur
given all this overt and implied praise
for the ancients conveyed in the
productions of the d doze and their
neo-classicists colleagues one might
find it puzzling to turn to the
typography of the Louvre editions and
realized that fair man's new letter
forms bear no resemblance to ancient
letters after all Robert Adam built
Roman triumphal arches in the English
countryside Benkelman employed art
students to learn directly from Greek
sculpture the title illustration of one
of his books commands us to study our
Greek by day and night daavid lined up
the followers of Socrates like a
Parthenon frieze and Canova as well as
dahveed rendered Napoleon as a modern
Roman Emperor or mythological God
but Dido apparently dismissed ancient
letter forms as a model for his types
the ancient Roman alphabet most
celebrated in the plaque at the base of
Trajan's column but used for
inscriptions throughout the extent of
the ancient empire is different from the
modern face in every way we can see in
this example the first century Leone
tablet it has a lower contrast
translation strokes and canted stress
set letter for letter against D toes
capitals it is clear that fair man had
no interest in copying its forms it is
striking that the classic Roman capital
which has resurfaced so many times in
the last 2,000 years that Paul Shah has
dubbed it the eternal letter seems to
have aroused little interest among the
type founders of the neoclassical period
the D dough's published neoclassical
books with wholly unclassified letters
reconciling this requires understanding
another side of the neoclassical
movement for which a detour into
contemporary architectural theory can be
useful we can start with Marco Antoine
Lussier whose essay on architecture from
the 1750s is a seminal text in the
Enlightenment architectural thought in
it lo GA uncovers what he calls
Architects invariable rules
by proposing a thought experiment like
jean-jacques rousseau loggia encourages
his reader to imagine man in a primitive
state to establish shelter loggia writes
this primitive man must have assembled
pieces of wood vertically and connected
them at the top with horizontal branches
and then built an inclined top to shed
the rain this primitive Hut he argues is
and should be the basis for all
architecture as it was for the
development of the Greek column and
tablature and Gable the slow GA praises
these Greek forms as the natural
consequence of considering what is most
essential in building the engraved
frontispiece published in the second
edition of low JS si makes the point
clearly the allegorical figure of
architecture at the bottom right is
redirecting the attention of the little
puto away from the more ornamental
building pieces on which she reclines
and towards the primitive Hut she
embodies lo J's command to go back to
the basics lo J's encouragement of
seeking ideal forms was influential on
the neoclassical architects who followed
one of the most interesting was Etienne
lui bulid who produced a visionary
proposal for a Steen attack for Isaac
Newton in 1784 again the same year in
which Firmin Didot
and Jacques lui dahveed made their
earliest masterpieces this never built
probably unbuildable monument is a
colossal spherical space the tiny
figures at the bottom of the rendering
give a sense of its scale boule
envisioned honoring the great scientist
with a building of ideal geometric shape
if it brings Greeks to mind it's not the
architects of the Parthenon so much as
Euclid the father of geometry or Plato
the theorist of pure forms what boule
pursued was not a superficial adoption
of antique architectural vocabulary but
rather a pure ideal this essentializing
and idealizing is another side of
neoclassicism so while the illustrations
in the D doz books partake of
neoclassical emulation of antique works
faire man's types exemplify neoclassical
idealization of forms in every way in
which DTOs typed depart from what would
have
to be called old-style types they can be
seen to be idealized these idealizing
departures can be understood by
contrasting DTOs typeface to one that
adheres more closely to writing such as
this Renaissance example from Aldus
Manutius d dough's thin unbranded serifs
are more like geometric add-ons to the
stems than lead in strokes of a writing
utensil the high contrast and abrupt
modulation are exaggerations of writing
a characteristics more than typical
artifacts of writing the evening of
Capitol widths pushes the design towards
mathematical regularity and the upright
stress is geometric symmetry that seems
to deny the idea that letters are
written with one or the other hand most
of us are right-handed some of us are
left-handed but no one is Center
immigrants while the prominent pointed
pen
doubtless established an appearance of
writing that made Dido type sensible I
think it makes sense to see those types
not as an emulation of writing but
rather as an idealization of writing
having surveyed the historical context
of the invention of Dido types we can
now turn our attention to the context of
their adoption by fashion journalism
this happened nearly simultaneously at
the two rival American fashion magazines
Conde Nast vogue and William Randolph
Hearst Harper's Bazaar at Vogue the
consistent Dido nameplate began when
Alex Lieberman replaced dr. M F Agra as
art director in 1943 it had been used
ever since accepting an odd interval in
the early 1950s were spaced Franklin
Gothic caps briefly supplanted it and
settling on Dido Lieberman was playing
catch-up with Alexei bradovich who as
the seventh celebrated art director of
Harper's Bazaar had made the familiar
modern face caps appear on the cover a
few years earlier the change then came
during World War two obviously the war
disrupted the European world of fashion
an American journalists access to it
Paris was occupied and London besieged
by Nazi Germany wartime shortages
industrial redirections and rationing
handicapped the clothing industry
the American fashion world became
necessarily more self-reliant drawing
some attention away from the traditional
fashion centers of Europe for example
1943 saw the first press week in New
York which would eventually evolve into
New York Fashion Week this fashion show
was the brainchild of Eleanor Lambert an
energetic American fashion promoter who
also launched an international
best-dressed list in the early 1940s
honorees on the list were international
but the jury was made up of designers
and journalists in New York and its
notice about the list the New York Times
called the city the world's new Design
Center
the partial shift of the fashion world
from Europe to New York was embodied by
the design staffs of the leading fashion
magazines agha bro de vich and Lieberman
were all Eastern Europeans who proved
themselves in Paris and other leading
cities of Western Europe and then were
hired by the American publishers this
turning point in fashion journalism is
registered on the covers of Vogue and
Harper's Bazaar the fact that the dido
name plates have been in near constant
use on these covers for over
three-quarters of a century is even more
striking when looking at what designs
preceded them before the 1940s vogue
displayed in almost riot as a variety on
its covers and the same is true for
Harper's Bazaar before the 1940s
industry illustrators and guest artists
were invited to create striking imagery
agha and bro de vich well-acquainted
with contemporary developments in art
and design introduced our deco and
surrealist touches the magazine name
appeared different with every issue
consistent with the artistic mode on the
cover but unpredictable from one issue
to the next that's the change from
quirky hand lettering to the sober Dido
nameplate must be seen in concert with
the approach to the magazine cover as a
whole the lettering changed at the same
time that the imagery changed the most
important catalyst for this change in
approach came in 1936 with the release
of Kodachrome film it had been a novelty
when vogue first published a color
photograph on its cover in 1932 in the
1940s nearly every cover of both
magazines featured a photograph of a
model the tradition of the fashion plate
actually centuries old had
you served instead of hand drawn images
the apparently objective medium of
photography would rule covers thence
forth what before had had a haptic charm
appealing to the sense of touch would
from then on have a more purely optic
visual effect mediated by the distancing
technology of the camera this distancing
from the handheld tool runs parallel to
the replacement of lettering with the
abstract forms of Firmin Didot the 1940s
then marked the birth of the fashion
magazine style with which we are
familiar one online commentator
described the style thusly fashion
magazines fashion magazine layouts have
a particular feel to them we know it
well stylized blank a luring in an
anonymous way suggestive of sex but
devoid of sensuality or personal emotion
we are voyeurs whose desires are aroused
only to be reach annulled toward the
items for sale this description was from
last year but already half a century
earlier ruled on Bart offered a similar
analysis of the model's appearance in
fashion journalism
he wrote fashion resolves the passage
from the abstract body to the real body
of its readers by proposing an ideal
incarnate body ie that of the model the
covergirl this structural paradox
defines the covergirl utterly her
essential function is not aesthetic it
is not a question of delivering a
beautiful body subject to the canonic
rules of plastic success but a deformed
body with a view to achieving a certain
formal generality that is a structure it
follows that the cover girl's body is no
one's body it is a pure form which
possesses no attribute we cannot say it
is this or that and by a sort of
tautology it refers to the garment
itself I would extend what Bart says
about the cover girl to the title above
her as well both photographed model and
letter forms are presented in an
abstract form that distills how real
bodies look and how real bodies making
works into a disembodied authoritative
structure the cover girls are unreal and
their appearances via photography or
objectively reproduced rather than
artistically rendered
what better typestyle to use than one
that from it's very beginning strove to
transform physical writing into a
perfected form and I'll leave you with
this a reworked frontispiece for my own
argument thank you
[Applause]
Weitere ähnliche Videos ansehen
Perubahan Sosial Masyarakat Indonesia di Era Modernisasi
A Brief History of Punk's Birth in the UK - MusicMadeUs
BUDAYA POPULER
When did humans start getting divorced? - Rod Phillips
The Fast Fashion Paradox | Malavika Chakravorty | TEDxGEMSWellingtonAcademyAlKhail
Why Have Most People Stopped Wearing Hats?
5.0 / 5 (0 votes)