Craig Eliason - Didot and Fashion

Summary

The 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

00:00

📚 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.

05:02

🏛️ 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.

10:02

🎨 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.

15:03

📸 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.

Keywords

💡Vogue

Vogue is a prominent fashion and lifestyle magazine that has been influential in the fashion industry for decades. In the script, Vogue is mentioned as one of the publications that adopted the Didot typeface for its nameplate, which is a significant aspect of the magazine's branding and visual identity. The use of Didot by Vogue reflects the magazine's commitment to a certain aesthetic and historical connection to the neoclassical ideals of design and typography.

💡Didot

Didot refers to the typeface created by the Didot family, particularly Firmin Didot, a French printer and type designer. The Didot typeface is characterized by its high contrast between thick and thin strokes, and it is associated with the neoclassical design movement. In the script, Didot is highlighted as the typeface that was adopted by Vogue and Harper's Bazaar, signifying a shift towards a more abstract and idealized form of typography that complements the fashion industry's move towards a more stylized and idealized representation of fashion.

💡Neoclassicism

Neoclassicism is an artistic movement that emerged in the mid-18th century, characterized by a renewed interest in the classical art and culture of ancient Greece and Rome. The script discusses how the Didot typeface embodies the neoclassical idealization of forms, moving away from direct emulation of classical models towards a more abstract and idealized representation. This concept is central to understanding the aesthetic choices made by the Didot family and later by fashion magazines in their design and typography.

💡Fashion Font

The term 'fashion font' in the script refers to a specific style of lettering that has become synonymous with the fashion industry. It is exemplified by the Didot typeface and is characterized by its high contrast and geometric forms. The fashion font is used by Vogue and Harper's Bazaar, among others, to signal a connection to the world of fashion and to convey a sense of sophistication and elegance.

💡Type Design

Type design is the craft of designing typefaces and fonts. It involves creating the visual appearance of letters and symbols, considering factors like legibility, aesthetics, and historical context. In the script, type design is discussed in relation to the Didot family's work and how their designs reflect the neoclassical movement's emphasis on idealized forms and geometric principles.

💡Modern Face Type

Modern Face Type refers to a category of typefaces characterized by high contrast between thick and thin strokes, abrupt modulation, and vertical stress. The script mentions that Didot, along with Giambattista Bodoni, is credited with the invention of modern face types. This typeface style was seen as revolutionary and represented a significant development in the history of typography.

💡Engravers

Engravers, such as those mentioned in the script, played a crucial role in the 18th century's typographic landscape. They facilitated the high-contrast and abrupt modulation seen in modern face types, which was an important factor in the development of the Didot typeface. Their work in engraving influenced the appearance and characteristics of typefaces, contributing to the evolution of typography.

💡Idealization

Idealization in the context of the script refers to the process of abstracting and refining forms to represent an ideal version of reality. This concept is central to neoclassicism and is evident in the Didot typeface, which moves away from directly copying classical letter forms to creating an idealized version that embodies the principles of the movement.

💡Fashion Journalism

Fashion journalism encompasses the reporting and commentary on fashion trends, designers, and events. The script discusses the adoption of the Didot typeface by fashion magazines like Vogue and Harper's Bazaar, marking a significant moment in fashion journalism's history. The use of Didot signifies a shift towards a more stylized and idealized representation of fashion, aligning with the industry's broader aesthetic and cultural shifts.

💡Kodakchrome Film

Kodakchrome Film is mentioned in the script as a technological innovation that revolutionized fashion magazine covers by enabling the use of color photography. This development contributed to the shift towards a more visual and less tactile aesthetic in fashion magazines, which is mirrored in the adoption of the abstract and idealized Didot typeface for titles.

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]