#lillian harper

[ale-draws-stuff]

Wow, real edgy, Silas 🙄

[kitsunetsuki]

Lillian Bassman - Lingerie by Maidenform (Harper's Bazaar 1956)

[zegalba]

Carmen Dell'Orefice for Harper’s Bazaar (1951) Photography: Lillian Bassman

[disease]

BETTY THREAT for HARPER'S BAZAAR LILLIAN BASSMAN | NYC, c. 1957 [gelatin silver print | 20 × 16"]

[venusimleder]

“Wonders of Water”, 1954.

Ph. Lillian Bassman

[chicinsilk]

Harper's Bazaar February 1958

Carmen Dell'Orefice wears a beige wool and silk suit by Forstmann: the patch pockets placed high on the chest. This, and the thin straw hat, floating like a nun's headdress, from Christian Dior-New York. Earrings by Buccellati. Kislav's gloves.

Carmen Dell'Orefice porte un tailleur en laine et soie beige de Forstmann : les poches plaquées placées haut sur la poitrine. Ceci, et le fin chapeau de paille, flottant comme une coiffe de nonne, de Christian Dior-New York. Boucles d'oreilles par Buccellati. Gants Kislav.

Photo Lillian Bassman

[glowsticcc]

oh my god she’s gentle parenting the horrors

[fashionbooksmilano]

Diana Vreeland The Modern Woman

Edited by Alexander Vreeland

Rizzoli, New York 2015, 304 pages, 24,5x33cm, ISBN 978-0-8478-4608-5

euro 52,00

email if you want to buy booksinprogressmilano@yahoo.it

The first Vreeland book to focus on her three decades at Harper’s Bazaar, where the legendary editor honed her singular take on fashion.  In 1936, Harper’s Bazaar editor in chief Carmel Snow made a decision that changed fashion forever when she invited a stylish London transplant named Diana Vreeland to join her magazine. Vreeland created “Why Don’t You?”—an illustrated column of irreverent advice for chic living. Soon she was named the magazine’s fashion editor—a position that Richard Avedon later famously credited Vreeland with inventing.  The troika of Snow, legendary art director Alexey Brodovitch, and Vreeland formed a creative collaboration that continued Harper’s Bazaar’s dominance as America’s leading fashion magazine. As World War II changed women’s role in society, Vreeland’s love for fashion and endless imagination provided exciting, modern imagery for this new paradigm. This book covers Vreeland’s three-decade tenure at Bazaar, revealing how Vreeland reshaped the role of the fashion editor by introducing styling, creative direction, and visual storytelling. Her innovative perspective and creative working relationships with photographers such as Richard Avedon, Cecil Beaton, Louise Dahl-Wolfe, Lillian Bassman, and Hoyningen-Huene brought the American woman into a modern world. Through more than 300 images from the magazine, this book shows how Vreeland’s work not only influenced her readership, but also forged the path for modern fashion storytelling that endures today.

Alexander Vreeland is the grandson of Diana Vreeland and the president of Diana Vreeland Parfums and the Diana Vreeland Estate. He is the author of Diana Vreeland Memos: The Vogue Years.

09/05/24

[iwatchfilmsbut]

Broken Blossoms (D.W. Griffith, 1919) // Suspiria (Dario Argento, 1977)

[ale-draws-stuff]

Some of the gang, I love them sm 🥲

[kitsunetsuki]

Lillian Bassman - Lingerie by Formfit, Harper's Bazaar, Oct. 1955, from Lillian Bassman: Lingerie (2012)

[zegalba]

Carmen Dell'Orefice for Harper's Bazaar (1951) Photography: Lillian Bassman

[federer7]

Nylon - A natural traveler, Margie Cato. Harper's Bazaar, 1949

Photo. Lillian Bassman

[seventh-victim]

Marilyn Ambrose, Harper’s Bazaar, 1952  (photo: Lillian Bassman)

[venusimleder]

Harper’s Bazaar US, 1948.

Ph. Lillian Bassman

[chicinsilk]

Model in silver lamé and emerald chiffon dress by Howard Greer, photo by Lillian Bassman, Harper's Bazaar, November 1952.

Modèle en robe de lamé argenté et mousseline émeraude de Howard Greer, photo de Lillian Bassman, Harper's Bazaar, novembre 1952.