Harper's Bazaar, Mar. 1926
Outfits by Lelong, illustrated by Reynaldo Luza
"WHY CLOTHES ARE NOT CHANGING"
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Reynaldo Luza. Scenes from Ibiza, 1935.
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Illustration by Reynaldo Luza for a Madame Agnès hat ad, which appeared in Harper's Bazar, January 1926.
Born in Peru, Reynaldo Luza (1893–1978) was a talented Art Deco illustrator. He collaborated principally with Harper’s Bazaar. His fashion drawings were poetic and graceful. He often drew women with a long neck, an oval head, elongated eyes and a fleshy mouth.
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Reynaldo Luza
Self Portrait
Peru (1915)
[Source]
James Cummins writes:
Reynaldo Luza (1893-1978), pre-eminent fashion artist, was born in Lima, Peru. He began training as an architect at the University of Louvain, Belgium, but returned to Peru at the outbreak of World War I, where he changed his studies from architecture to art.
In 1918 he came to the United States, where he earned his living by contributing drawings to several fashion publications, principally VOGUE, HARPERS BAZAAR, and VANITY FAIR. In 1921 he joined HARPERS BAZAAR as the principal fashion artist, a position he was to hold for 27 years.
He divided his time between New York, Paris and London, working closely with all of the leading fashion designers of the times — Poiret, Patou, Lelong, Paquin, Douillet, Doucet, Cheruit, Worth, Drecoll, Callot Soeurs, Redfern, Martial et Amand, Premet, Reboux, Chanel, Vionnet, Molyneaux, Schiaparelli, Hartnell, Steibel, and Balenciaga, among others.
In 1940 Luza made New York his principal base, where, over the next few years, he continued his activities at Harpers as well as creating fabric and furniture designs, and the costumes for the movie “The Bridge of San Luis Rey.” Among other distinctions, he received several honorary appointments from the government of Peru, including that of Artistic Director of the Paris Exposition of 1938 and the New York World’s Fair of 1939-40; he also did the interior design of the new Lima airport.
In 1950 Luza returned to Peru, where he began a second career as a portrait painter, exhibiting his work over the next few years in Paris, New York, and Washington, D.C.
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Photo by Jean Moral (1906-1999), 1933, Juliette sur la terrasse, villa de Reynaldo Luza, Formentor, Majorque, Baléares.
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Jean Moral Piscine et Terrasse de la Villa de Reynaldo Luza Formentor, Majorque, Baléares 1933
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Illustrations by Reynaldo Luza & Mary MacKinnon
"WHAT PRICE A CROWNING GLORY?"
Harper's Bazaar, Mar. 1925
Outfits by Premet, Rodier, Yvonne Printemps, and a hair style invented by dancer Vera Cooper.
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Reynaldo Luza, ad illustration for Madame Agnès hats, Harper’s Bazaar, 1926
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I’m kind of ashamed to admit that last December was the first time I ever visited the @museodeartelima Growing up in Peru, I never thought I’d become a designer. Later, while studying graphic design in the US, I craved to learn more about graphic design in Latin America, especially Peru, but resources were scarce. . Long story short, going to MALI was amazing. They have a nice small collection of graphic design and illustration. I was especially moved by seeing the front page of the Amauta in person. . I’ll be sharing pictures from my trip in December every Thursday until I return to Peru in March #holdontoyourbutts . 1 Camilo Blas, Cover of “Perú, Revista Illustrada” . 2 José Sabogal Diéguez, Front page of “Amauta” . 3-4 Francisco E. Olazo . 5 Reynaldo Luza y Argaluza, Cover is the poetry book “The Multiple Voices” . 6-10 Elena Izcue (at MALI - Museo de Arte de Lima) https://www.instagram.com/p/BtCSEWFhLlN/?utm_source=ig_tumblr_share&igshid=12mrbfhd1eshy
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Reynaldo Luza (1893-1978)
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Es Baluard descubre el pasado balear de Reynaldo Luza
Nekane Aramburu reconstruye la colección sobre la fotografía de vanguardia y relatos de mujeres excluidas de la historia oficial
from Latinoamérica http://ift.tt/2nGapCO
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