Word: tilley
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...late '60s, in the midst of sup posedly affluent times, The New Yorker fell upon bitter days: tumbling circula tion, reduced advertising. Reluctantly, Eustace Tilley wiped off his smirk and rolled up his sleeves. For the first time in its history, the magazine printed a table of contents. Soon afterward, a bold pro motional campaign was launched, an nouncing that The New Yorker, yes, The New Yorker - which in palmier days had had a waiting list of advertisers - was actually soliciting business. Fortunately, the enterprise had accumulated enough wealth - and enough loyal writers, art ists and subscribers - to weather...
...Yorker itself? Well, as George Orwell aptly observed: "At 50 one has the face one deserves." The cur rent golden-anniversary issue once again exhibits the profile of Eustace Tilley. But it is no longer the true face of the magazine. Another visage somehow hovers behind the columns, a face no longer young but not old, a wise, ironic face that has learned to tell a joke as well as take one; a face that can turn grim, be cause contemporary distress can no longer be answered with a riposte; a face that has resolved its youthful conflict...
...Gill, John Updike and Pauline Kael--some of them dragged from retirement for this circumspect celebration. That was a clue, of course all of those whimsical hot shots, together in one issue, meant something special was up. There were other clues: the cover was the annual portrait of Eustace Tilley, The New Yorker's elegant, top-hatted, curly-locked, nose-in-the-air, monacieclutching mascot. That told readers the magazine was celebrating some anniversary. And on page 134 there was the best clue of all, a four-line filler reeking of esoterica and tradition. It read...
...hard to explain. Ross, Shawn and the rest have successfully set up as taste makers over a 50-year period when cultural presumptions have changed horrendously. The New Yorker remains a throwback to Matthew Arnold's Victorian faith in a secular religion of truth and beauty. Eustace Tilley, the magazine's monocled symbol, is clearly an Arnold disciple turned dandy. To be impeccable, graceful and hard-hitting all at the same time is demanding work. So is hanging on to a upper-middle-class audience without seeming frivolous or snobbish...
...Nude Look. "Bareness is the expression of our times," declares Monika Tilley, Austrian-born sportswear designer. Her effort to give "the wearer maximum exposure" is clearly successful in the bathing suit at the right. As with some bikinis, the top and bottom are sold separately. This enables women of unorthodox proportions to jigger the sizes as they must, but might in time encourage the economical shopper to go topless to the beach-or bottomless...