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Harper’s Bazaar –First in Fashion

(Harper’s Bazaar. Premier magazine de mode)

Press kit

23 J

une

2020

— 3

Jan

202

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Exhibition produced by the Musée des Arts Décoratifswith support of American Express, Veronica Chouand GRoW @ Annenberg.With special thanks to Regina and Gregory Annenberg Weingarten.

Press release

About the Catalogue

Excerpts from the catalogue

Wall panels

Sponsors and Partners

Scenography

Useful Information

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Contents

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To celebrate the reopening of its fashion galleries, entirely renovated thanks to the patronage of Stephen and Christine Schwarzman, the Musée des Arts Décoratifs will present a major exhibition dedicated to Harper’s Bazaar. Harper’s Bazaar. First in Fashion (Harper’s Bazaar. Premier magazine de mode), on view June 23, 2020 through January 3, 2021, chronicles the milestones of the magazine and its evolution.

One hundred and fifty two years of fashion history will be summed up through the vision of the great artists and photographers who contributed to the Bazaar’s unique style, from Man Ray, Salvador Dali and Andy Warhol to Richard Avedon, and Peter Lindbergh. Sixty couture and ready-to-wear pieces, most of them drawn from the museum’s collection, along with loans of iconic dresses, will be displayed next to images of them as they were originally featured in the magazine. The exhibition will also include a special tribute to three major figures in Bazaar’s history: Carmel Snow, Alexey Brodovitch, and Diana Vreeland. Together, they created the modern aesthetics both in fashion and graphic design that are still as influential today. The architect and designer Adrien Gardère, who oversaw the renovation of the galleries, designed the exhibition.

1. Harper’s Bazaar —Août 2019Kate Winslet© Peter Lindbergh

2. Harper’s Bazaar —Mars 1896Illustration de William H. Broadley

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Press release–

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Bazaar was launched in 1867 by Harper & Brothers as a women’s magazine focused on fashion, society, arts, and literature. Styled after European fashion gazettes, it stood out for its commitment to the cause of women. Its first editor, Mary Louise Booth, was a suffragist and an abolitionist who supported the Union during the American Civil War. A woman of letters, Booth was a Francophile who would go on to influence the Bazaar throughout its history. In the 20th century, Picasso, Cocteau, and Matisse were among the many French artists to be featured in the magazine. Bazaar also published articles on the leading figures of the American school, such as Jackson Pollock, Frank Stella, and William Burroughs.

3. Harper’s Bazaar —Juin 1964© Hiro

4. Balenciaga —Robe haute couturePrintemps-été 1955Paris© MAD Paris

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It was also a world-class literary journal, with contributions by Colette, Simone de Beauvoir, Françoise Sagan, Jean Genet, and André Malraux. Some of the greatest British and American writers, from Charles Dickens to Virginia Woolf, Patricia Highsmith, Truman Capote, and Carson McCullers, wrote for Bazaar. But beyond the quality of its content, it was its aesthetics that set the magazine apart. Its blend of fashion features and perceptive criticism have made Bazaar a touchstone for fashion and graphic design. Great couturiers such as Charles-Frederick Worth, Paul Poiret, Jeanne Lanvin, Madeleine Vionnet, Elsa Schiaparelli, Christian Dior, and Cristóbal Balenciaga owe part of their myth to Bazaar’s prestige.

Staged on two floors of the fashion galleries, the exhibition is arranged chronologically around different themes that have emerged throughout Bazaar’s history. It aims both to highlight Bazaar’s contribution to the evolution of the female silhouette over the past 152 years and to show how the magazine’s epochal images were conceived through the sketches, photographs, and patterns that preceded and inspired them.

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Harper’s Bazaar: First in Fashion opens with a short history of fashion periodicals from the 16th to the 19th century. Mary Louise Booth set the tone for Bazaar by featuring the work of the Parisian couturier Charles-Frederick Worth, a great favorite of American high society. The magazine’s evolution reflected changing styles, from Art Nouveau to the Orientalism of the Ballets Russes and Paul Poiret, which influenced the covers drawn by Erté in the 1910s and 1920s. It was during this period that the magazine forged the aesthetics of fashion photography with the work of Baron Adolph de Meyer. In the following years, Surrealism influenced the photographs of George Hoyningen-Huene and George Platt-Lynes, as well as the cover illustrations created by Cassandre, which echoed the work of Elsa Schiaparelli and Madeleine Vionnet, who took their inspiration from metaphysics and antiquity.

Then there was the “Holy Trinity” that turned Bazaar into an avant-garde luxury magazine in the 1930s: editor in chief Carmel Snow, art director Alexey Brodovitch, and fashion editor Diana Vreeland. They opened up the magazine to the great outdoors and to the sun-kissed bodies captured in Kodachrome color by Louise Dahl-Wolfe. They introduced major photographers like Man Ray, then Richard Avedon, whose lyrical style chimed with the billowing evening gowns of the postwar years. In 1947, it was Snow who dubbed Christian Dior’s first collection the “New Look,” ushering in a golden age of couture. By the 1950s, Bazaar had become such a force in fashion that it was lampooned in the musical Funny Face, starring Audrey Hepburn. The cultural, social, political, and Pop and Op Art revolutions of the 1960s were epitomized by Avedon in his famous April 1965 “Now” issue, with model Jean Shrimpton on the cover.

5. Peter Lindbergh —Novembre 1992© Peter Lindberg(courtesy Peter Lindberg, Paris)

6. Melvin Sokolsky —Décembre 2014

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Photographers such as Hiro used fashion as a field of experimentation, employing colored gels and strobes inspired by kinetic art. The images of the 1970s reflected the colorful, vivid fashion of the era. In the 1980s, disco, Dallas, and Dynasty set the tone for the magazine, then headed by Anthony T. Mazzola. During his tenure, close-up portraits of celebrities photographed in Ektachrome started appearing on the covers.

In 1992, with Liz Tilberis as editor in chief and Fabien Baron as creative director, the magazine reverted to a more classic vision of elegance, with a new design and distinctive aesthetic. Photographers such as Patrick Demarchelier and Peter Lindbergh became mainstays, and models like Linda Evangelista and Kate Moss graces the cover.

In 2001, with the arrival of Glenda Bailey as editor in chief, Stephen Gan as creative director, and later, Elizabeth Hummer as design director, the magazine took a turn for the spectacular and the fanciful, with photographers such as Jean-Paul Goude as its ringmasters. Bold, ambitious choices marked the period. But the beauty and vibrancy of the magazine went along with a deep respect for its history.

Harper’s Bazaar: First in Fashion is the first exhibition dedicated to a fashion magazine to look beyond the photographs at the impact of the editorial and artistic direction, the design and the men and women behind it all, as it explores how magazines have helped define what fashion is and what we considerate fashion.

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7. Gleb Derujinsky —Juillet 1958Modèle Ruth Newmann© Derujinsky

8. Hiro —Octobre 1968

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About the Catalogue–

THE Book

The world’s greatest couture has been featured on the covers and pages of Harper’s Bazaar throughout the years. The magazine has also published works by the greatest writers of its time, such as Patricia Highsmith, Truman Capote and Carson McCullers. Haute couture, lifestyle, illustration, photography, graphic design and literature are showcased in this book, the first of its kind to be published in French on this internationally renowned English-language magazine.

THE AUTHorS

Collective work published under the direction of Éric Pujalet-Plaà and Marianne Le Galliard.Graphic design: Baldinger & Vu-Huu200 pages230 illustrationsFormat: 23.5 x 31.5 cmBound with dust jacket49 €Édition MAD

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Excerpts from the catalogue–

Miss BoothÉric Pujalet-Plaà

The first editor-in-chief of Harper’s Bazaar, Mary Louise Booth, was born in 1831 in New York and grew up on Long Island, where her family had settled in the 18th century. A gifted child raised to respect scriptures and humanities, she quickly earned a living as an editor, translator and journalist. […]

Her translations of Jenny d’Héricourt’s, The Affranchised Woman and of George Sand’s unpublished autobiography reflect her commitment to the cause of women. As early as 1855, she joined the New England Women’s Club in Boston and the Sorosis Club in New York. The following year, she joined the Anti-Slavery Society. She also demonstrated her commitment to aesthetics by becoming a member of the Society for the Advancement of Truth in Art in 1857. […] In 1862, Mary L. Booth and Dr. Zakrzewska co-signed an appeal for the subscription to a Woman’s Journal whose motto was “equal rights for all men.” The Civil War would call for the end of the project. […]

In 1867, the four Harper brothers – Fletcher, James, John and Joseph – who published the popular magazines, Harper’s Weekly, Harper’s New and Harper’s New Monthly asked Miss Booth to launch a women’s magazine in the style of Berlin’s, Der Bazaar. […]

Mary L. Booth made her magazine a success by defining its orientations in fashion – “Our readers will thus be assured access to authentic Parisian fashions at the same time as the Parisians themselves” – and society: “Serials, short stories, poems, literary and artistic miscellanies, popular science, aesthetics, today’s literature, new books, entertainment, gardening, architecture, domestic literature – in short, all that is likely to interest the family circle will find the place it deserves.” […]Mary L. Booth’s editorial mission statement was true to her opinions, opening the magazine’s pages to the suffragist cause while stopping, by her own admission, short of activism. […]

Her feminism, avant la lettre, patriotism and her Francophilia were the ingredients of Harper’s Bazaar’s style. Her magazine became the manifesto of a way of life blending luxury, literary expression, an interest for the arts and support for the notion of social progress. […]

9. Miette Landrey —Day gown, moire antique, 1866-1868© MAD Paris

10. Harper’s Bazaar —Fashion plateNovember 2nd, 1867Illustr. Heloïse Lenoir

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Carmel Snow, in tune with the timesMarianne Le Gaillard

The arrival of Carmel Snow as editor-in-chief in 1934 was a milestone in the history of the magazine. Harper’s Bazaar entered into an era of modernity under her stewardship. Trained at Vogue in the 1920s, Snow had already developed a critical eye and a clear-cut vision of editorial content. […]

A Francophile, Snow invited contributors of the Tout Paris movement: the poet and illustrator Jean Cocteau, the decorator Christian “Bébé” Bérard, the journalist Janet Flanner who was the Paris correspondent of the New Yorker and the author of Letter from Paris under the nom-de-plume “Genêt”, as well as Marie-Louise Bousquet, who held a salon on the Place du Palais-Bourbon.

She also called on the painter Marcel Vertès, the illustrator of Schiaparelli’s ads for her first fragrance, Shocking, as well as the decorators and illustrators Jean and Valentine Hugo and the painter and decorator Jean-Michel Frank. These figures knew each other and collaborated on projects such as stage sets, fashion and advertising, and organised spectacular costume balls. […]

Snow was quick to introduce a new, more spontaneous image of women, practicing sports, enjoying the open air, and expressing their joie de vivre. In order to achieve this, she decided to turn to photography. […] For the first time, models ran and moved naturally with their hair in the wind. Snapshots started appearing in the magazine. […]

In 1934, she chose Alexey Brodovitch as her artistic director. […] Over the course of twenty years, the two creatives invented a new magazine. […] Harper’s Bazaar took on a new intellectual and visual identity, bolstered by the increasing importance of photography. Carmel Snow never shrank from asserting her political positions on culturally significant issues such as women in the workplace (November 1934), the condition of Afro-American artists (Marian Anderson, September 1937) or living conditions in slums (Walker Evans’ photo-report, August 1939). These articles, subtly inserted within the magazine’s pages, are still surprisingly modern. […] Snow liked to say that what mattered most was to be “in tune with the times”.

11. Jeanne Lanvin —Drawing for a collectionGouache on paper, Pénombre Spring-Summer 1929Lanvin Archives, Paris

12. Cartier New York —Head ornamentC. 1924Platinum, white gold, pink gold, diamonds, feathersCartier Collection

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Diana Vreeland, sparksMarianne Le Gaillard

It was in 1936, after seeing her dancing at a party at New York’s St. Regis Hotel, that Carmel Snow asked Diana Vreeland to become a columnist for Harper’s Bazaar. Her column, “Why don’t you”, published until 1940, would offer Vreeland the opportunity of giving free rein to her unbridled fantasy […] giving all kinds of extravagant advice in the Surrealist vein. Her originality, boldness and eccentricity made Diana Vreeland a unique figure in the world of fashion. […] According to Richard Avedon, she reinvented the profession, until then it was only society ladies who were addressed to a very exclusive circle of clients; she was officially named fashion editor of Bazaar’s pages in 1939.

Her exuberance, in contrast with the restraint and moderation of the Snow-Brodovitch duo, generated sparks: she loved her work, declaring that for her, fashion was essential – she thought, lived and breathed fashion. […] Having fine tuned her inimitable style over the years, she knew how to perfect a model’s elegance before a photo shoot. Down to the smallest details, nail polish, accessories, and hairstyles, nothing was left to chance. As a result she took over from Mrs. Reginald “Daisy” Fellowes, who ran Harper’s Bazaar’s Parisian office. For Snow, Vreeland embodied “the new world of the international jet-set.” And indeed, she had no trouble convincing rich and reputedly inaccessible society ladies such as Jacqueline de Ribes, Gloria Vanderbilt, Marella Agnelli or Barbara “Babe” Paley to pose for Richard Avedon. […] “Triumphing over banality”, in Truman Capote’s words: this was Diana Vreeland’s major contribution to Harper’s Bazaar.

13. Dovima for the December 1959 cover of Harper’s Bazaar —© Avedon Foundation

14. Anonymous —Madeleine Vionnet evening gownFall-Winter 1936© MAD Paris

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New LookMarianne Le GaillardÉric Pujalet-Plaà

The American economic upswing of the immediate postwar years translated into more advertising for Harper’s Bazaar, a boom that allowed the magazine to publish more articles on art, theater and dance. […] After celebrating the courage of the couturiers and the artisans who had remained in France, “without whom Paris would not have survived”, [Snow] wanted to inspire a new wave of optimism. […] In February 1947, Carmel Snow instantly understood the impact of Christian Dior’s first collection. Exclaiming “Your dresses have such a new look!”, she gave its name both to the collection and to the predominant style of the postwar period. […]

At the time, Christian Dior was also an illustrator for Le Figaro, whose Thursday fashion pages he would enliven with spirited little sketches. The founding of the house of Dior with the support of Marcel Boussac was the greatest event of the season. Snow’s attention was quite likely inspired by the idea of seeing an illustrator, whose culture and artistic training were well known to her, express himself in his own name at last. At the end of the presentation, it was the “new look” that struck her. What was novel about it was its visual aspect: the primacy of drawing over cut, color or texture. From then on, the authority of the couturier would assert himself through drawings that his studios would translate into fabric. […] Conceived like sculptures (they were often structured by bustiers or boned undergarments), the finished dresses compelled silhouettes to conform to a very definite line. […] Even before being photographed, these dresses were as striking as fashion plates, as though the couturier had anticipated what they would look like in the magazine. Dior’s mastery of image reflected his perfect understanding of magazine culture, integrated within the creative process of couture.

15. Replica of Christian Dior’s Chérie dress —Cotton cloth1959After the model of Spring-Summer 1947Paris© MAD Paris

16. Harper’s Bazaar —April 1947Illustr. SAM

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richard Avedon, Paris is a feastMarianne Le Gaillard

Richard Avedon was only twenty-one when he started working for Harper’s Bazaar in 1944. […] Enchanted by his ambition and his perseverance, Brodovitch hired him, a decision which yielded one of the most compelling human and artistic adventures ever in a fashion magazine. Like Carmel Snow, Alexey Brodovitch and Diana Vreeland, Avedon was an inventor, a dogged perfectionist, in love with details and well-done work.

For twenty years, his rule over Harper’s Bazaar, his second home, was absolute: “Bazaar was my home. I remember dashing past the store windows of Longchamp on my way to Bazaar’s offices, and telling myself I’d see myself growing old, running in front of those glass panels”.

Snow and Brodovitch (the sole person he acknowledged as his master) reigned over his new family: “Brodovitch was as strict and as tough as my father. And Carmel was as warm, open, accommodating and understanding as my mother.” Junior Bazaar was his first playground. […]Playing upon depths of field, he did not hesitate to isolate a model in the foreground, leaving the background totally blurred. Gradually, he would invent a new school, blending influences drawn from Munkácsi’s photography, Ernst Lubitsch’s movies, the Parisian culture of the interwar years, a Paris he dreamt along with Picasso, Cocteau, Bérard, Colette…

[…] Avedon became Carmel Snow’s indispensable companion during the Paris collections. A new column, “Carmel Snow’s Paris Report”, created in 1951, showcased portfolios of Avedon’s pictures, displaying the latest fashions over five, or even seven double-page spreads. Avedon’s Paris was a grand feast for the eyes, for women, for French fashion. […] His appropriation of a romantic European past, the return to refinement and splendor after the war, along with the joie de vivre expressed in his photography, contributed to the rebirth of the French fashion industry.

Avedon’s greatest innovation was knowing how to transpose the instantaneous (under the influence of Munkácsi) and the spectacular in order to create the illusion of real, true-life scenes. Their dazzling beauty still makes us dream. 17. Avedon —

Sunny Harnette for Harper’s BazaarOctober 1954© 2015, Pro Quest LLCAll rights reserved

18. Karl Lagerfield for Chloé —Bugatti dressSilk jersey embroidered by Hurel with pearls and faceted beadsReady-to-wearFall-Winter 1983Chloé arch

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Wall panels–

Balenciaga

As early as 1938, Carmel Snow celebrated the work of Cristóbal Balenciaga: “The best school is the new Spanish house Balenciaga. The black is so black that it hits you like a blow.”Harper’s Bazaar took pride in giving a place to “the most elegant couturier in the world” (1950), “the couturier of the future” (1955), who dressed its editor-in-chief. Richard Avedon’s photos underlined the architectural dimension of his creations, echoed by Alexey Brodovitch’s graphic layouts. Avedon’s studio images are characterized by his taste for the streamlined, playing on the amplitude and abstraction of volumes to showcase silhouettes and faces.In 1954, Carmel Snow considered Hubert de Givenchy, the disciple of the Spanish couturier, one of the world’s best couturiers. He dressed Audrey Hepburn in Funny Face in 1957 and it was Avedon who produced, among his other contributions to the movie, all its freeze frames. The comedy tells the story of a young model’s debut and is inspired by Harper’s Bazaar. Audrey Hepburn embodies the dynamism of the era’s silhouettes and fashions: juvenile, elegant and up for just about anything. When her portrait by Avedon was featured on the cover, it was the first time the magazine showed the face of an actress.

Hiro

The Japanese photographer Yasuhiro Wakabayashi, known as Hiro, arrived in New York in 1954, and became Avedon’s assistant in 1957. A staff photographer for Harper’s Bazaar between 1958 and 1971, he experimented with several processes with a preference for wide angles, floor backlighting, multiple exposures and flash and halo effects. Jacques-Henri Lartigue, who witnessed one of his shoots, captured its making-of, showing how Hiro would choose unexpected angles (for instance an abrupt high-angle shot) freeing silhouettes from their traditional, full-length representation. In his foreshortened views, prints meld into a single ornamental surface, abolishing the limits of the body. Hiro’s vision was in tune with the oriental, floral inspiration of the hippy chic, folk and psychedelic trends of the era, but also foreshadowed the deconstruction of modern Japanese fashion design. When photographing jewelry, Hiro portrays the body in extreme close-ups, using distortions and flashes to enhance the translucence and radiance of the colored gems.

19. Hiro —October 1963

20. Harper’s Bazaar —CoverApril 2010Model: Demi Moore© Mark Seliger

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Peter Lindbergh

Starting in 1992, Peter Lindbergh became the magazine’s star photographer. His pictures, often in black and white, contrasted with the vibrant colors and close-ups of the preceding decade. Boldly stepping away from his subjects, he showed his models in the streets of New York, on beaches or in the Great West. In Fabien Baron’s layouts, his pictures composed genuine “fashion stories”. The elegance of the 1940s, Expressionist or Neorealist cinema inspired his portraits of supermodels: Kate Moss posed in overalls in 1994, with no apparent makeup, like one of John Steinbeck’s heroines or August Sander’s figures. The photographic sequence “Angel” with Amber Valletta was inspired by his friend Wim Wenders’ Wings of Desire. Through his vision, New York asserts itself as a capital of fashion, suffuses with reminiscences of the old Mitteleuropa. His sharp contrasts and asceticism chime in with the austerity of Jil Sander’s creations and Helmut Lang’s minimalism. The classicism of Peter Lindbergh’s images defies fashion’s prescriptions: he has marked the aesthetics and attitudes of an entire generation.

Fabien Baron

In 1992, Fabien Baron joined Harper’s Bazaar as its artistic director. He commissioned a new font, HTF Didot, that modernised the earlier one. In the December issue, the “Wild” fashion spread by Patrick Demarchelier with Kate Moss was introduced by a title-composition made up of tangled letters. The process became one of the magazine’s hallmarks. The covers, often by Patrick Demarchelier, were radiant color portraits set against immaculate backgrounds, while Peter Lindbergh’s stories brought a more realistic, grittier touch.

21. Harper’s Bazaar —CoverDecember 1992Model: Kate Moss© Patrick Demarchelier

22. Givenchy —By Clare Waight KellerReady-to-wear collection, Spring-Summer 2019Short silk crepe dress embroidered with silver sequinsGivenchy archives

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Sponsors and Partners–

The façade of the museum will be animated by a video-mapping on February 26th, 27th and 28th starting at 7.30 PM thanks to the Athem studio, in partnership with the MAD.

Special thanks to Christine and Stephen A. Schwarzman, sponsors of the renovation of the fashion galleries.

This exhibition was sponsored by regina and Gregory Annenberg, Veronica & Silas Chou and American Express.

“I decided to support this exhibition when I heard about the uniqueness of the exhibition, it’s not just taking the most iconic images of Harper’s Bazaar, or just taking the cover images, and simply putting it together...there will be new elements of previous work to uncover, shown in a impactful way. It will be a feast for the senses, and the most beautiful images fashion has to offer. It will be historic and reflective of our creative society. And I believe that humans are creative beings, we have used fashion & creativity to not only to be beautiful, but also to affect change, to speak up and to move society. Honoring our creative history is important for us. And with this understanding that we are beings made to create, and will continue to express ourselves artistically, we then have to force ourselves to find ways to be able to continue to create, but in a sustainable, eco-friendly way that doesn’t take away from our planet. And I believe with our current explosion of developments in material sciences and technologies, we would be able to do so, beautifully and ecologically.” Veronica Chou, Founder & CEO of Everybody & Everyone

American Express is an international financial services company that provides products, advice and opportunities to enrich its customers’ lives and contribute to the success of their activities.For more information, consult americanexpress.com or contact us on facebook.com/americanexpress, instagram.com/americanexpress, Linkedin.com/company/american-express, twitter.com/americanexpress, and youtube.com/americanexpress.

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Scenography–

The studio

Since its foundation in 2000, Studio Adrien Gardère’s comprehensive, integrated approach has been met with international success in projects ranging from permanent museum and temporary exhibition design to product design and development. Studio Adrien Gardère thrives working with different countries and cultures, demonstrating its ability to communicate effectively with museum curators, academics, architects, craftsmen and manufacturers. Its work is driven by the desire to achieve unique design in which intuition, emotion and innovation meet curatorial expertise, educational values and clients’ aspirations. Throughout the years, SAG has collaborated and established long-lasting relationships with major institutions, architects and private entities in Canada, China, Egypt, France, India, Indonesia, Iran, Italy, Mali, South Korea, Switzerland, USA and the United Kingdom.

Studio Adrien Gardère won the competition for the complete renovation of the Fashion Galleries of The Musée des Arts Décoratifs in Paris (MAD). To carry out this project the Studio has partnered with architects Bien Urbain, lighting designer Alexis Coussement ACL and engineering consultant BETOM. The objective of the project is to create an “exhibition machine,” capable of hosting all forms of scenography and exhibition design for one of the most important fashion collections in the world; and to meet all the museum’s requirements and expectations, in terms of comfort, modularity and ease of use, as well as in terms of preventive conservation, security and work protection.

Bien urbain

Founded in 2016 by Nicolas Cèbe and Jérôme Stablon, Bien Urbain – atelier d’architecture develops various projects that respond to the specific needs of its clients and the particular contexts in which they establish themselves. Whatever the program, whether it is functional or cultural, the studio upholds the same architectural and construction standards. It is especially focused on renovation, seen as a virtuous approach associating respect for architectural heritage and frugality in mobilised resources.

As part of their practice, Bien Urbain is led to collaborate with professionals from many fields: scenographers, engineers, builders… and to work alongside a broad variety of project managers and users. These encounters enrich their approach throughout their various projects.

Studio Adrien Gardère

— Press contactsIsabelle MendozaAnne-Solène Delfolie+ 33 (0) 1 44 55 58 78presse@madparis.fr

— CuratorsÉric Pujalet-PlaàAssistant curator at the Musée des Arts Décoratifs

Marianne le GalliardDoctor of art historyPhotography expert

Assisted by Lola BarillotDocumentation and coordination Officer

— CatalogueGraphic design: Balginger•Vu-huu200 pagesApprox. 250 illustrationsFormat: 23.5 x 31.5 cmHardcover with dust jacketFrench version edited by MAD€49English version edited by Rizzoli USA$75

#ExpoBazaar

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