The Daring Issue

Harper’s Bazaar November 2014 issue. Photo by Alexi Lubomirski

 
 

Giorgio Armani Privé dress; Cartier earrings and bracelet

 
 

Maison Martin Margiela bustier and Donna Karan New York skirt

 
 

Posing alongside The Kiss, a sculpture by Romanian-born sculptor Constantin Brâncuși

 
 

Altuzarra bodysuit and skirt; Cartier earrings

 
 

Balmain bandeau; Philip Treacy hat and Cartier ring

 
 

Versace dress and sandals ; Cartier ring and bracelet

 
 

Schiaparelli Haute Couture dress

 
 

 
 

Actress Anne Hathaway is the November 2014 cover star of Harper’s Bazaar US, posing in an Armani Prive gown on the cover photographed by Alexi Lubomirski. Inside the “Daring” issue, Anne stars in a feature made with creative direction by George Lois where she even wears a heart-shaped bustier with the words “I love you” decorated on top. She says about being daring, “I am getting more daring now—I’ll wear my mom jeans in public that haven’t been tailored ‘just so’ yet, just because they feel good.”

Hathaway tips a daring hat to, number one, Tilda Swinton. “Tilda is it, but she’s so cool about it. She’s so cool, she’d be like, ‘Oh, it’s not daring. I just did it.’ Hmm, Jonathan Demme”—who directed Hathaway to her first Oscar nomination, for Rachel Getting Married—“he’s still my mentor and hero. And Matthew McConaughey is the most daring man I know. He never judged himself along the way, and it’s all come together for him so wholly and deeply. He is totally himself.”

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Dialogue Between Fashion and Death

Yves Saint Laurent

 
 

YSL Rive Gauche nappa leather platform pump, 2010

 
 

Saint Laurent by Hedi Slimane silver skull and leather necklace

 
 

Yohji Yamamoto 1995-1996 Ad campaign photographed by David Sims

 
 

Alexander McQueen Spring Summer 2010 eyewear advertising

 
 

Christian Dior Haute Couture by John Galliano. Autumn-Winter 2000

 
 

Iris van Herpen Capriole Haute Couture AW11

 
 

Dsquared2 Fall 2010

 
 


Reveal The Inner Self, collection of Taiwanese designer Wei Ting Liang for her 3rd year final project, at the Ecole de la Chambre Synidcale de la Couture Parisenne

 
 

Jean Paul Gaultier, Fall Winter Couture collection 2006-2007

 
 

gaultier skeleton 2011Jean Paul Gaultier fashion show, 2011

 
 

Jean-Charles de Castelbajac, Fall/Winter 20011-2012

 
 

White cotton jacket printed all over with dotted grey skulls wearing light blue sunglasses by Comme Des Garcons Homme Plus, Spring-Summer 2011

 
 

Narciso Rodriguez’s sketch-books

 
 

Vans skulls slip-on shoes

 
 

Christian Audigier, French fashion designer and entrepreneur

 
 

Vivienne Westwood

 
 

GIACOMO LEOPARDI
DIALOGUE BETWEEN FASHION AND DEATH
A CHAPTER FROM OPERA OMNIA (1824)

Translated by Charles Edwardes

FASHION — Madam Death, Madam Death!

DEATH — Wait until your time comes, and then I will appear without being called by you.

FASHION — Madam Death!

DEATH — Go to the devil. I will come when you least expect me.

FASHION — As if I were not immortal!

DEATH — Immortal?

“Already has passed the thousandth year,”

since the age of immortals ended.

FASHION — Madam is as much a Petrarchist as if she were an Italian poet of the fifteenth or eighteenth century.

DEATH — I like Petrarch because he composed my triumph, and because he refers so often to me. But I must be moving.

FASHION — Stay! For the love you bear to the seven cardinal sins, stop a moment and look at me.

DEATH — Well. I am looking.

FASHION — Do you not recognise me?

DEATH — You must know that I have bad sight, and am without spectacles. The English make none to suit me; and if they did, I should not know where to put them.

FASHION — I am Fashion, your sister.

DEATH — My sister?

FASHION — Yes. Do you not remember we are both born of Decay?

DEATH — As if I, who am the chief enemy of Memory, should recollect it!

FASHION — But I do. I know also that we both equally profit by the incessant change and destruction of things here below, although you do so in one way, and I in another.

DEATH — Unless you are speaking to yourself, or to some one inside your throat, raise your voice, and pronounce your words more distinctly. If you go mumbling between your teeth with that thin spider-voice of yours, I shall never understand you; because you ought to know that my hearing serves me no better than my sight.

FASHION — Although it be contrary to custom, for in France they do not speak to be heard, yet, since we are sisters, I will speak as you wish, for we can dispense with ceremony between ourselves. I say then that our common nature and custom is to incessantly renew the world. You attack the life of man, and overthrow all people and nations from beginning to end; whereas I content myself for the most part with influencing beards, head-dresses, costumes, furniture, houses, and the like. It is true, I do some things comparable to your supreme action. I pierce ears, lips, and noses, and cause them to be torn by the ornaments I suspend from them. I impress men’s skin with hot iron stamps, under the pretence of adornment. I compress the heads of children with tight bandages and other contrivances; and make it customary for all men of a country to have heads of the same shape, as in parts of America and Asia. I torture and cripple people with small shoes. I stifle women with stays so tight, that their eyes start from their heads; and I play a thousand similar pranks. I also frequently persuade and force men of refinement to bear daily numberless fatigues and discomforts, and often real sufferings; and some even die gloriously for love of me. I will say nothing of the headaches, colds, inflammations of all kinds, fevers — daily, tertian, and quartan — which men gain by their obedience to me. They are content to shiver with cold, or melt with heat, simply because it is my will that they cover their shoulders with wool, and their breasts with cotton. In fact, they do everything in my way, regardless of their own injury.

DEATH — In truth, I believe you are my sister; the testimony of a birth certificate could scarcely make me surer of it. But standing still paralyses me, so if you can, let us run; only you must not creep, because I go at a great pace. As we proceed you can tell me what you want. If you cannot keep up with me, on account of our relationship I promise when I die to bequeath you all my clothes and effects as a New Year’s gift.

FASHION — If we ran a race together, I hardly know which of us would win. For if you run, I gallop, and standing still, which paralyses you, is death to me. So let us run, and we will chat as we go along.

DEATH — So be it then. Since your mother was mine, you ought to serve me in some way, and assist me in my business.

FASHION — I have already done so — more than you imagine. Above all, I, who annul and transform other customs unceasingly, have nowhere changed the custom of death; for this reason it has prevailed from the beginning of the world until now.

DEATH — A great miracle forsooth, that you have never done what you could not do!

FASHION — Why cannot I do it? You show how ignorant you are of the power of Fashion.

DEATH — Well, well: time enough to talk of this when you introduce the custom of not dying. But at present, I want you, like a good sister, to aid me in rendering my task more easy and expeditious than it has hitherto been.

FASHION — I have already mentioned some of my labours which are a source of profit to you. But they are trifling in comparison with those of which I will now tell you. Little by little, and especially in modern times, I have brought into disuse and discredit those exertions and exercises which promote bodily health; and have substituted numberless others which enfeeble the body in a thousand ways, and shorten life. Besides, I have introduced customs and manners, which render existence a thing more dead than alive, whether regarded from a physical or mental point of view; so that this century may be aptly termed the century of death. And whereas formerly you had no other possessions except graves and vaults, where you sowed bones and dust, which are but a barren seed, now you have fine landed properties, and people who are a sort of freehold possession of yours as soon as they are born, though not then claimed by you. And more, you, who used formerly to be hated and vituperated, are in the present day, thanks to me, valued and lauded by all men of genius. Such an one prefers you to life itself, and holds you in such high esteem that he invokes you, and looks to you as his greatest hope. But this is not all. I perceived that men had some vague idea of an after-life, which they called immortality. They imagined they lived in the memory of their fellows, and this remembrance they sought after eagerly. Of course this was in reality mere fancy, since what could it matter to them when dead, that they lived in the minds of men? As well might they dread contamination in the grave! Yet, fearing lest this chimera might be prejudicial to you, in seeming to diminish your honour and reputation, I have abolished the fashion of seeking immortality, and its concession, even when merited. So that now, whoever dies may assure himself that he is dead altogether, and that every bit of him goes into the ground, just as a little fish is swallowed, bones and all. These important things my love for you has prompted me to effect. I have also succeeded in my endeavour to increase your power on earth. I am more than ever desirous of continuing this work. Indeed, my object in seeking you to-day was to make a proposal that for the future we should not separate, but jointly might scheme and execute for the furtherance of our respective designs.

DEATH — You speak reasonably, and I am willing to do as you propose

The Supporting Structure of a Concept

2006BF7453_jpg_lThe Skeleton Dress (from The Circus collection), designed in 1938 by Elsa Schiaparelli and Salvador Dalí

 
 

To many contemporaries the sinister black skeleton evening dress with its padded representations of human bones was an outrage – an offence against good taste. Although otherwise in elegant harmony with the prevailing lines of late 1930s evening wear, the skeleton dress is so constricted that it became a second skin and the imitation anatomy sat defiantly proud of the fine matt silk surface. Schiaparelli exaggerated the usually delicate trapunto quilting technique to make enormous ‘bones’ – the design was stitched in outline through two layers of fabric, then cotton wadding inserted through the back to bring the design into relief on the front. The shoulder seams and right side are closed by bold plastic zips.

 
 

Samsonite Black Label suitcases by Alexander McQueen, circa 2007-2008

 
 

The human form is treated just like an animal skin, with the rib cage and sternum at the front of the case, and backbone at the back. The inside is formed by the negative of the outside shape in a soft molded form providing contrast with the outer protective hard shell. In both examples skeletons were used as the supporting structure of a concept.

Under the Charm of Scheherazade

The mystery never ends, it cannot end. That´s why it is called a mystery, it cannot be known ever. It will never become knowledge, that´s why it is called a mystery; something in it is eternally elusive. And that´s the whole joy of life. The great splendor of life is that it keeps you eternally engaged, searching, exploring. Life is exploration, life is adventure.

The legendary Persian Queen Scheherazade is a gorgeous example of this wonderful, intelligent and creative mystery called life. Her amazing story featured in One Thousand and One Nights (هزارافسانه), is an inspiration to generations of story tellers, movies makers, musicians, painters and poets. It will remain so, forever and ever and ever.

Scheherazade (شهرزاد‎) is a female name meaning "of noble lineage" in old Persian, or "born in the city" in modern Persian.

 
 

Model wearing Schiaparelli’s asymmetrical evening dress at Schéhérazade club, Paris

 
 

Photo taken at Schéhérazade club by Roger Schall, 1940

 
 

Art Nouveau poster

 
 

Edmund Dulac

 
 

Virginia Frances Sterett

 
 

Umberto Brunelleschi

 
 

Erté

 
 

Léon Bakst

 
 

Vaslav Nijinsky and Ida Rubinstein in ballet adaptation of Sheherazade premiered on June 4, 1910, at the Opéra Garnier in Paris by the Ballets Russes. The choreography for the ballet was by Michel Fokine and the libretto was from Fokine and Léon Bakst, who also designed sets and costumes

 
 

Nijinsky

 
 

Nijinsky by Georges Lepape

 
 

Sleeve design for Rimsky Korsakov’s symphonic suite recorded by The Philadelphia Orchestra. Phillips

 
 

Nijinsky in the role of the negro slave in the ballet Sherezade by Rimski Korsakov, George Barbier

 
 

George Barbier

 
 

Paul Mak

 
 

John Austen

 
 

Alberto Vargas

 
 

José Segrelles

 
 

Sophie Anderson

 
 

Richard Corben

 
 

Franz Helbing

 
 

Edouard Frederic Wilhelm Richter

 
 

Elizabeth Taylor in disguise

 
 

Directed by Walter Reisch

 
 

J. Jones

 
 

Willy Pogany

 
 

René Magritte

Of Claws and Clothes

“Beauty should be edible, or not at all.”

Salvador Dalí

Lobster Telephone by Salvador Dalí, 1936

 
 

In 1936, Salvador Dali designed the Lobster telephone. By spring 1937, Italian fashion designer, Elsa Schiaparelli asked him to design a lobster as a decoration for a white organdy evening gown. And the dress was made famous when it appeared in Vogue modeled by Wallis Simpson. As an American Divorcee, Simpson gained notoriety when the Duke of Windsor chose to marry her in 1936 rather than become King of England.

The oversized lobster on this dress is strangely out of place on such a romantic and feminine gown. The odd juxtaposition between evening gown and sea creature was certainly not an accident. Many of Schiaparelli’s designs were both shocking and humorous.

 
 

 
 

Elsa Schiaparelli in her atelier

 
 

Lobster dress, in collaboration with Salvador Dali, 1937

 
 

Wallis Simpson. Photos: Cecil Beaton

 
 

Lobster, Andy Warhol, circa 1982

 
 

Isabella Blow at the American Embassy in Paris, 1998

 
 

Isabella Blow, in her lobster hat (by Erik Halley), at Julien MacDonald’s fashion show in London, 1998

 
 

Lobster Necklace by Erik Halley

 
 

Lady Gaga wearing a lobster hat designed by Philip Treacy in 2011

 
 

Lobster brooch by Tiffany and Co. which contains 200 pink sapphires and 61 spessartites in 18 karat gold. The lobster’s eyes are made from vivid emeralds and the antennae are sparkling diamonds. Summer 2009 collection.

 
 

Thom Browne Spring/Summer 2013

 
 

Tommy Hilfiger Short, Exploded Lobster Print Flat Front Short. 2013 Spring-Summer collection.

 
 

John Galliano Spring/Summer 2013 Menswear collection

Shoe-hat

Illustration for hats. Autumn-Winter 1937/1938 collection

The hat was designed by Salvador Dalí who was inspired by a photograph of himself wearing his wife’s shoe on his head.

 
 

Gala wearing the iconic shoe-hat. Photo André Caillet 1938

 
 

The “Almodóvar girl” Rossy de Palma (described by many as a Picasso-come-to-life) and Christian Louboutin. Photo: Mario Chavarría for Harper’s Bazaar Spain, 2010

 
 

Lady Gaga in a Born This Way (2011) promotional photograph by Mariano Vivanco

Some Stylish Mothers

Portrait of Carolina Herrera’s daughters and granchildren by Annie Leibovitz.

 
 

Carolina Herrera surrounded by her daughters. From Left to right: Patricia, Carolina Jr., Ana Luisa and Mercedes

 
 

Colombian fashion designer Silvia Tcherassi and Sofía

 
 

Donna Karan and Gaby Karan de Felice

 
 

Elsa Schiaparelli and her daughter Countess Maria Luisa Yvonne Radha de Wendt de Kerlor (Gogo) in St. Moritz, 1934. Gogo Schiaparelli, married shipping executive Robert L. Berenson. Their children were model Marisa Berenson and photographer Berry Berenson.

 
 

Sonia and Nathalie Rykiel in a photo editorial by Jason Schmidt featured in Harper’s Bazaar. The photograph is inspired by the movie Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, 1988)

 
 

Joseph Corré, son of Vivienne Westwood and Malcolm McLaren, is the founder of lingerie brand Agent Provocateur

 
 

Diane von Fürstenberg and Prince Alexander von Fürstenberg