Tuesday 18 March 2014
Bruno Feitler on Bea Feitler

A few weeks ago we contacted Bruno Feitler, the nephew of art director Bea Feitler, and the initiator of a recently published book about her life and work. Bea Feitler was an outstanding designer who unfortunately passed away in the 1980s (how we wish we could’ve paid tribute to her with a Hall of Femmes book). She was Ruth Ansel’s art direction partner at Harper’s Bazaar in the 1960s and gave the form to Ms Magazine, Rolling Stone, and numerous book covers. We skyped with Bruno who lives in Sao Paolo on a cold winter Sunday in Stockholm.

Hi Bruno!
Is Bea well known in Brazil? Is she a kind of design celebrity?

Because of the book now: yes, but maybe five years ago, much less. But she was well known while she was alive. Once a year when she came to Brazil, there would be something about her in the newspapers. But when she passed away, after a while, nobody talked much about her.

Can you tell us a bit about her background, and why she went to New York?
When she was 18 she wanted to study something related to fashion, and my grandparents decided to send her to New York to study at Parsons. She had an aunt in New York, so maybe they decided to send her to the United States and not to Europe, or somewhere else, because of that. Once there, she realized that she wanted to study graphic design.

After her degree, she came back to Brazil where she started to work at a magazine called Senhor. It was a very important publication at the time, and she worked there from 1959 to ’60. And she also designed very, very important covers for important Brazilian authors at the time.

Do you have the books that she did those covers for?
Yes, I have one here, O Homem Nu. It’s in very poor condition, but it is iconic of design in the ’50s and ’60s. I also have this one. O Encontro Marcado. You can see the palette of colors she uses.

2She also worked for an art gallery, making invitations and posters, very typical of that period as well. But when she was fired from the magazine together with the main editor, she decided to go back to the United States after only one year in Rio. She started to look for work there, and that’s when Marvin Israel approached her.

Because Marvin Israel used to be her teacher at Parsons?
Yes, he taught at Parsons and that’s how she knew him. But there’s also Diana Vreeland, she says somewhere that someone had spoken very highly of her, that’s why she was hired.

Bea Feitler, Bill King, Ruth Ansel. New York, 1965.

Bea Feitler, Bill King, Ruth Ansel. New York, 1965.

What’s so special is that there were two art director’s assistants hired at the same time: Ruth and Bea. Do you know anything about how they worked together from Bea’s point of view?
It’s very hard for everyone who was there: for Ruth, for some photographers that I interviewed, people that were assistants for Bea later, to explain how they worked together. But Avedon wrote something about that once, saying that one was the classic and one was the modern, Bea being the classic. In fact there was emulation and a lot of collaboration, making it sometimes difficult to say exactly who did what. One would come with one idea, that would be developed by the other one, and then maybe reused by the first one in another spread of Bazaar.



We have gotten the impression that Bea was a wild child and a rebel. What’s your thoughts on that?
Yes, she was very exuberant!

Bea Feitler

And everyone mentions the bracelets that jingled when she walked.
Yes, I remember her necklaces with Brazilian things hanging, and the bracelets I really remember also. And she was very expansive. But she knew of course, in design, what would be the best solution, what would be the best thing to do.


What else interested her?
In Rio, before going to Parson, she used to come every week to the opera house in Rio, to watch ballet and opera, she was really passionate about ballet. And in NYC, while still studying, every week she would write a friend of hers about ballet and not much about work. But she also wrote in a couple of those letters (and I write that in the book) that she noticed during school that she needed a high-voltage tension. She needed to do all these things at the same time, she needed all this information coming out, and without that she wouldn’t be happy.

For example: when she worked with Bazaar, she also did a magazine here in Brazil and no one knew about that. It’s called Setenta, “Seventies”. So here’s the first issue.


And nobody in United States knew, because she was still hired at Bazaar, so she couldn’t be working with other things. She was an advisor but she also made the layouts for some issues. For instance, she took Bill King to Brazil to take photos for this magazine. There are some gorgeous pictures and gorgeous spreads. She did that secretly and there were some spreads and some pictures that were used in this magazine and later, also in Bazaar. She mixed things up.

That’s daring, two-timing Harper’s Bazaar … So she needed stimulation?
Yes, she needed a lot of things at the same time, working a lot, later also teaching at the SVA, and having the rhythm that they had in New York at that time. And that was not the same in Rio.

How did the idea for the book come about?
My mother passed away very early. My father passed away, Bea passed away in the ’80s, my grandparents too. So it was a way for me to remember all of them at the same time.

Since we haven’t read the book, because it’s in Portuguese, how is it written? Is it from your perspective or from a design history perspective?
We didn’t want the book to be sentimental. In the book there are two texts: one is my text, a personal biography, it goes sideways when you hold the book straight, so you have to turn the book to see texts and images that relate to her personal life. And all the work images, and the text with design analysis, are set out in the regular way, written by André Stolarski, a great design theorist among many other things. Stolarski analysis of Bea’s work is amazing, and his text is the most important one for the book. Unfortunately he recently passed away. The book’s layout was a way Elaine Ramos found to play with Bea’s idea of the use of text as image. The size of the book is the same size as Bazaar’s magazine. So it makes it easier to reproduce some of those images.

Has the book been well received?
Very well. We got a lot of good press.


Can you say something about her work at Ms magazine?
After leaving Bazaar in 1971, Bea was called by editor Gloria Steinem to be the art director of Ms magazine, which was just starting. It was a huge success. According to André Stolarski, Ms’ popularity was a direct consequence of its graphics, and thus also was the influence of feminism in the US. It was in fact a pop magazine, and Bea was able to gain a lot of space for images over text in it. Ms while dealing with political and serious social matters, was visually agitated, informal, and also well humored, what certainly helped its popularity. Bea worked there until July 1976.


Can you tell us something about how the photographer Annie Leibovitz and Bea worked together?
Bea asked Annie to shoot some photos for Ms. magazine, and that’s how they got in contact. Annie then had Jann Wenner call Bea to do some special projects for Rolling Stone, where Annie was the head photographer; works as “capturing the soul. Seven master photographers”, of May 1976, or the 10th anniversary issue, of 1977, a huge work of edition of Annie’s photos. Once Rolling Stone moved to NY, Bea started collaborating even more, first as consultant art director and later as design director. For Annie it was very important to have Bea there. Have you seen the documentary Behind the Lens? Annie said that Bea took her under her wing and taught her a lot.

Actually, that was one of the starting points for Hall of Femmes, when we saw that documentary, because it was the first time we ever heard a woman speak of another woman as a mentor and give that kind of credit to another woman in a work collaboration thing. So it got us really curious about Bea and about the whole mentorship between women.
They had a very intense relation. And Bea was the one who took Annie Leibovitz to fashion, when she worked on the prototype for Vanity Fair. Do you want to see the prototype?



That’s wonderful.

What made Bea the mentor type?
She recognized talent, and what would become the focus of that photographer or artist. For example, Richard Wilde (director of the SVA) told me that Bea paid attention to Keith Harring when he was a student, at a time when other people would not. With photographers and designers, she would know which path they had to follow. She would know how to make them develop their own personality.

Thank you for taking the time to talk, Bruno, bye!

Bruno Feitler lives in São Paulo, Brazil, where he is a Professor of History at the Universidade Federal de São Paulo, with studies mainly on the Church in Brazil and the Portuguese Inquisition. O design de Bea Feitler is published by Cosac Naify and ipsis in 2012. Buy it here , even if it’s in Portuguese, it’s worth it.
Bruno with Bea, 1976. From the Cosacnaify blog.

Bruno with Bea, 1976. From the Cosacnaify blog.


Posted by: 20:25

Categories: Annie Leibovitz, Bea Feitler, Diana Vreeland, Gloria Steinem, Harper's Bazaar, Marvin Israel, Mary Shanahan, Ruth Ansel, Uncategorized, Vanity Fair

Tuesday 6 November 2012
Avedons assistent berättar

För dig som klarar av att läsa en extremt ful och svårläst blog: här berättar Richard Avedons assistent historien om hur Avedon fotograferade till Ruth Ansels och Bea Feitlers rymdnummer av Harpers Bazaar 1965.

Posted by: 09:18

Categories: Bea Feitler, Harper's Bazaar, Richard Avedon, Ruth Ansel

Tuesday 22 June 2010
Veni Vidi Vince Aletti

Låt oss presentera Vince Aletti, mannen som förutom att vara den första att skriva om disco har en av världens största samlingar modetidningar och fotoböcker. Att stiga in i Vinces lägenhet gör oss knäsvaga av lycka (för att vi fick komma) och olyckliga (för att vi någon gång måste gå). Det finns små tomma öar i golvet i havet av bok- och tidningsstaplar, i dessa öar kan man finna en liten soffa eller ett skrivbord. Eller kanske en hög med cd-skivor och kassetter med titlar som Best of acid music. Överallt finns fotografier på män utan kläder.
Vi plockar fram varsitt luktsalt för att inte svimma av hänförelse och går runt i lägenheten. I en korridor ligger tre rum i fil, alla fyllda med böcker och tidningar. På toaletten ligger högar till och med på badkarskanten. Sängen är omgärdad av en mur böcker. I hallen står ett gammalt dokumentskåp där Vince förvarar alla sina Bazaar. När vi möttes på Ruths release erbjöd sig Vince generöst att bistå med sina Junior Bazaar till Lillians Bassmans bok. Han har alla nummer och de få nummer Lillian själv äger har har hon fått av Vince. De är extremt svåra att få tag på. Vi säger att vi försökt bjuda på dem på e-bay någon gång men att de blivit för dyra. ”Jag vet” säger Vince ”det är jag som köper dem.”
Vi tar skissbilder på Lillians tre årgångar av Junior Bazaar. Vince stökar runt i de andra rummen och försöker hitta GQ från ad Mary Shanahans tid i mitten av 80-talet. Marys årgångar visar sig vara efter att Bruce Weber lämnat tidningen i protest – den skulle anpassas och göras mer ”straight” – så de årgångarna har inte Vince.
Vince blev intresserad av tidningar redan som barn. Pappan hade amerikanska fotoårsböcker som han fick ärva och plötsligt såg han sambandet mellan fotografierna i årsböckerna och tidningar, sammanhanget de först använts i. Lite senare, när han blev en seriös samlare på 80-talet, var hans ingång just att han intresserade sig särskilt för vissa fotografer som ovan nämnda Bruce Weber och Richard Avedon.
Som tjugoåring fastnade han för ett omslag han tyckte så mycket om att han rev loss det från tidningen och hade det uppnålat på alla ställen han bodde. Efter ett tag ångrade han att rivit sönder tidningen och gav sig ut på jakt efter en kopia. Och så började det. För oss känns det som att allting vi är med om hänger ihop. Självklart ska vi träffa en tidningssamlare som burit med sig Ruths ikoniska omslag och som äger en gigantisk tidningssamling just tack vare detta omslag, it makes sense.

Posted by: 03:45

Categories: Dagens lunchkille, Fotografi, Harper's Bazaar, Killar, Vince Aletti

Saturday 24 October 2009
Vi testar all teknik

Vår tekniker på Moderna museet heter Allan Sparrow, ett namn som vi tycker är i klass med James Bond. Han visar sig liksom agent 007 jobba bra undan stark yttre press. Han berättar att dom alltid brukar plocka in honom på de lite knepigare tillställningarna. Han har en okrossbar ficklampa från Clas Ohlson som Ruth Ansel blir mycket förtjust i. Hon har tagit med sig sin egen köksklocka för att klocka tiden. Spänningen är outhärdlig, föreläsningsklockslaget kryper närmare, vi är alla nervösa.

Posted by: 20:03

Categories: Fina saker, Harper's Bazaar, Nöjen, Ruth Ansel, Teknik

Friday 18 September 2009
Låt oss presentera: Lillian Bassman

Lillian Bassman är ytterligare en gigant vars namn borde vara mer känt. Hon är mest känd som fotograf men arbetade på 40-talet främst som art director. Upplärd av Alexey Brodovich jobbade de tillsammans på Junior Bazaar, en spin-off till Harper’s Bazaar som var riktad till tonårstjejer.

Efter att vännen Richard Avedon lånat ut både sin fotostudio och assistent till henne när han åkte på en semesterresa, dedikerade sig Lillian Bassman helt och hållet till fotografi och blev en av Harper’s Bazaars mest anlitade fotografer under en tjugoårsperiod. Hennes estetik är elegant och glamorös liksom Avedons och Irving Penns, men mer abstrakt och moody. (Eller arty som vi säger idag.) I slutet av 60-talet tröttnade Lillian Bassman på modevärlden och bestämde sig för att sluta fotografera. Hon stängde sin studio och drog sig tillbaka för att måla.
Många år senare råkade en av hennes väninnor hitta en kasse med tjugo år gamla negativ vilket ledde till att Lillian Bassman återupptäcktes. Idag är hon 92 år gammal och går varje dag till sin studio för att arbeta. Bassman sägs vara förtjust i photoshop och hon retuscherar sina gamla bilder och trollar bort det hon tycker känns daterat. Vi kan alltså inte vara säkra på att fotona ovan såg ut just såhär när dom publicerades för första gången.
KMR Arts i Washington har precis haft en utställning med henne. För oss som missade den, ska som tur var en bok komma ut nu i höst.
Läs en bra artikel här under tiden ni väntar.

Posted by: 19:07

Categories: Fotografi, Harper's Bazaar, Lillian Bassman, Richard Avedon

Friday 4 September 2009
Gud har talat

Från Harper’s Bazaar september 1966.
Art directors Ruth Ansel och Bea Feitler. Foto av Bill Silano

Posted by: 11:24

Categories: Bea Feitler, Budskap, Harper's Bazaar, Ruth Ansel

Tuesday 1 September 2009
Katerina Denzinger

När vi bläddrat igenom alla våra Harper’s Bazaar har vi gjort en oss ny bekantskap, Katerina Denzinger. Hon har med sina snygga illustrationer i nästan varje nummer mellan 1963–1971. Överst ett utvikbart omslag från septembernumret 1965. Under ett fotocollage tillsammans med Richard Avedon från samma år.

Posted by: 12:44

Categories: Harper's Bazaar, Katerina Denzinger, Richard Avedon

Monday 31 August 2009
10 år på 20 bilder

Här sitter vi nu och ska välja bilder till Ruth-publikationen. Vi har material från nästan tio årgångar av Harper’s Bazaar att hämta ur, så det blir många darlings att döda.

Posted by: 15:55

Categories: Fina saker, Harper's Bazaar, Ruth Ansel

Saturday 22 August 2009
Goda nyheter

Ruth Ansel, legendarisk art director med över 50 år i branschen kommer till Stockholm i slutet av oktober på inbjudan av Hall of Femmes för att berätta om sitt yrkesliv. Hon har jobbat för tidningar som Harper’s Bazaar, The New York Times Magazine och Vanity Fair och är en av förgrundsgestalterna inom vårt yrke. Ni kommer kunna läsa en hel del om Ruth här på bloggen framöver, var så säkra.

Posted by: 10:49

Categories: Harper's Bazaar, Nöjen, Ruth Ansel, Vanity Fair

Friday 27 March 2009
Låt oss presentera Bea Feitler

Bea Feitler kom från Brasilien men var utbildad på Parsons i New York. Hon blev handplockad av sin lärare Marvin Israel för att tillsammans med Ruth Ansel bli hans ad-assistent på Harpers Bazaar. Ruth beskriver henne som en av dom absolut bästa, en enorm begåvning, välutbildad och egensinnig. Bea Feitler var även ad på Rolling Stone, Ms och Self och hann precis godkänna provtrycket av det första numret inför nylanseringen av Vanity Fair 1982 innan hon dog i cancer 44 år gammal.

Posted by: 22:35

Categories: Bea Feitler, Harper's Bazaar