Harper's Bazaar

FOR SEVERAL MONTHS this summer, New York busses and bus stops sported ads showing supermodel Linda Evangelista voguing for Harper’s Bazaar. The ad turned out to be a slightly altered version of the fashion mag’s September cover—a much studied text in that it announced the arrival of HB’s new editor-in-chief, Elizabeth Tilberis. Against an all-white ground, the striking Evangelista peered at us from behind a raised arm sheathed in a black beaded-net bodysuit by Donna Karan. In a neat design gimmick, the third a in Bazaar slipped from the magazine’s logo into the model’s hand, cupped in an ambiguous gesture above her head. The cover was exquisite: stark, even minimal in its composition, it piqued both our curiosity and our desire.

With the nation engaged in a political campaign charged by fears about the economy—a campaign obsessed with the idea of “change”—the ubiquitous cover was clearly

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