EDI­TOR’S LET­TER

Harper's Bazaar (UK) - - Contents -

The spir­its of many women run through the pages of Bazaar : for those that made the mag­a­zine in the past still min­gle with th­ese who cre­ate it to­day, while oth­ers con­tinue to in­spire us. In this is­sue, there are sev­eral pow­er­ful pres­ences (al­though some are elu­sive, or even close to in­vis­i­ble). First, the un­know­able yet un­for­get­table woman at the heart of Daphne du Mau­rier’s My Cousin Rachel, brought to the screen so mem­o­rably this year by our cover star Rachel Weisz. And of course, Weisz her­self is a mag­nif­i­cently com­pelling fig­ure – as in­tensely in­tel­li­gent as she is beau­ti­ful, and bold in her re­fusal to be boxed in by con­ven­tional roles for an ac­tress in her for­ties.

An equally po­tent blend of fe­male strength and beauty is to the fore in our fash­ion shoot fea­tur­ing Kirsty Hume as a reimag­ined Queen Guin­e­vere. Pho­tographed at Caer­hays Cas­tle in Corn­wall by Agata Pospieszyn­ska and styled by Charlie Har­ring­ton, the ro­mance of Arthurian leg­end has been shaped by a con­tem­po­rary team of women who share our com­mit­ment to sto­ry­telling.

And then there is the fig­ure of Gabrielle Chanel, who be­came a pre­vail­ing in­flu­ence on Harper’s Bazaar soon af­ter she first launched her busi­ness in 1910, and whose en­dur­ing legacy we ex­plore in our archives as part of our cel­e­bra­tion of the mag­a­zine’s 150th an­niver­sary. Chanel’s dis­ci­plined hon­ing of her vi­sion of el­e­gance, and her ded­i­ca­tion to the craft of cou­ture – along­side art and lit­er­a­ture – has long been recog­nised and re­flected by Bazaar (Diana Vree­land, the mag­a­zine’s bril­liant fash­ion edi­tor for nearly three decades, re­garded Chanel as the great­est cou­turier of all time). But there are also par­al­lels to be drawn with to­day’s de­sign­ers, in­clud­ing Gior­gio

Ar­mani, who I was for­tu­nate enough to

in­ter­view for this is­sue. Ar­mani, like Chanel, has over­seen every as­pect of his brand – from tex­tile man­u­fac­ture to cou­ture ate­liers – and has dis­played a sim­i­lar courage in main­tain­ing his own ver­sion of style, rather than be­ing swayed by the va­garies and vi­cis­si­tudes of fash­ion.

The dream of eter­nal icons con­tin­ues to en­thral the beauty in­dus­try, just as it does fash­ion and Hol­ly­wood, and as such, may be a mi­rage prone to fade or tar­nish. But I hope that Bazaar ’s long-stand­ing ex­per­tise on this and other sub­jects will con­tinue to be trusted by our read­ers; hence our de­fin­i­tive guide to the 150 great­est beauty prod­ucts and ex­perts. It is based on months of de­tailed re­search by our beauty de­part­ment, but is also un­der­pinned by the lay­ers of knowl­edge and ex­pe­ri­ence that have evolved through­out the mag­a­zine’s his­tory.

And so Bazaar con­tin­ues to cher­ish all the ap­par­ently lit­tle things in life that we hold most dear – from the scents that we love, to the lip­sticks that give us con­fi­dence – as well as up­hold­ing the prin­ci­ples of the women who came be­fore us. In their foot­steps we walk; by their courage, we are em­bold­ened; for them, we stay true to our con­vic­tions; and thanks to them, we know our­selves anew.

Jus­tine Pi­cardie

PS: Don’t miss the chance to sub­scribe to Harper’s Bazaar

– turn to page 102 for this month’s of­fer.

Clock­wise from above: Rachel Weisz in this month’s cover story (page 200). Chanel jew­ellery; and Coco Chanel at the Paris Ritz in 1937, both fea­tured in ‘La grande mademoiselle’ (page 272). An Ar­mani Privé look from our in­ter­view

with Gior­gio Ar­mani (page 252)

Left: Bazaar’s Oc­to­ber 1937 cover. Right: Kirsty Hume wears Dior in ‘Queen of the cas­tle’ (page 212)

£595 Saint Lau­rent by An­thony Vac­carello

£1,965 Saint Lau­rent by An­thony Vac­carello £2,690 Chanel

£175 Rus­sell & Brom­ley From a se­lec­tion De Beers

From a se­lec­tion

Roberto

Coin

Fr om a se­lec­tion Van Cleef &

Ar­pels

£135 Gerard Darel

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