Extending beyond the delicious color priorities of the 1928 edition, the process here, in the production of one year later, applies itself to compositional matters.
Here the poster for the Vienna Fair gives us a convening of stylized, streamlined ship, plane and train, to impress upon the viewer that seriously modern energies are inputting the event you’d be crazy to miss!
The ever-inventive, Jean Dupas, delights here in bringing together three eras of women’s fashion. The garland, held by the Past and the Future, releases doves to express their favoring the (then, present day) art deco raiment. Moreover, there is a fascinating play upon the sense of heading toward a time of more masculine women.
In the pink! Monte Carlo, of course—but also showing off matching swimming gear. The tonality released by those motifs once again gives us pace-setters poised upon a new, mysteriously astringent, world.
With this glorious diptych, featuring a Benito figure at the lower half, the editors were able to add their own spin to the juxtaposition-energies in the air. They seem to imply that the diamond-hard, above-mentioned modernist has distilled primordial gifts from the past.
I love how the sense of the adventure of historical progress is spiked by that laser-like line passing through the figure’s eyes; the directionality is emphasized by the hourglass and its fleeting wings and the thrust of her perfect deco arm. This is a brilliant argument for the high (though sadly underestimated) design powers comprising a small scale, and readily embraced by this great publication.