Introducing Chronicle Hairline

Six new typefaces born of fashion, and designed for all kinds of dramatic visual storytelling.

Fashion changes, yet fashion typography endures. Ever since Alexey Brodovitch adorned the pages of Harper’s Bazaar with high-contrast ‘Modern’ typefaces more than eighty years ago, typefaces with billowy curves and fine hairlines have remained a signature of the fashion industry. More recently, as typography has begun to play a more central role in visual storytelling, these typefaces’ exquisite details and proud features have invited larger-than-life applications, allowing them to create the same kinds of enticing visual fantasies as enthralling fashion layouts and well-dressed windows.

Because readers can identify the style at a glance, high-contrast faces are widely used for fashion titles from the newsstand to the web. But Modern typefaces in the elegant and formal Didot style aren’t the only option for creating stylish, transporting typography. To offer designers a new voice to work with, we’ve taken our Chronicle Display family, a smart and newsy design in the ‘Scotch’ style, and extended it into this new collection of bright and graceful typefaces for creating grand, expressive, and picturesque typography. Meet Chronicle Hairline®.

In contrast to the steely detachment of a Modern, Chronicle Hairline is direct and welcoming: a tweed to the Modern’s silk, a Savile Row to its Place Vendôme. Its subtly shaded curves and neatly bracketed serifs give Chronicle Hairline the kind of warmth normally associated with Old Style typefaces. But the clear geometry of its beaks and terminals, its unfussy numbers, and its alert and practical italics, mark Chronicle Hairline as an indisputably contemporary design.

Perhaps most usefully for anyone who works with big type — whether on book covers, posters, banners, architectural lettering, or identity programs — Chronicle Hairline is designed in three different widths: an approachable Hairline, a cosmopolitan Hairline Condensed, and a dignified Hairline Compressed, each in both roman and italic. Together with the Chronicle Display headline faces, the Chronicle Deck series for subheads, and the Chronicle Text collection for text, the new Chronicle Hairline adds an extra helping of sophistication to one of our most versatile and hardest-working type families.

Wearable Rococo

Look up and you’ll see the floriated, ornamented, shaded letters of our logo (l. gravura tuscana), as well as an italic cousin used for the News, Notes & Observations nameplate. I have a special fondness for these kinds of letters, which reflect a synthesis of traditions from both typemaking and engraving. Is it therefore any wonder that I love these alphabet brooches from Bena Clothing, spotted by our friends at Design Sponge? They’re made from laser-etched cheery veneer over mahogany, thoughtfully offered as set of 53 pieces with duplicates of popular letters. (I wonder how the frequency distribution of initials differs from that of other kinds of words: extra Js, I imagine?) —JH

The Timeless Typography of Harper’s Bazaar

ASME has announced its winners for Best Cover of 2007, and we’re thrilled to see that of the six covers that feature typography, five are clients of H&Co. You’ll see Chronicle on the cover of O, and our forthcoming Sentinel font on the cover of Texas Monthly. But especially gratifying is the 2007 award for Best Fashion Cover, which went to Harper’s Bazaar: it was Bazaar who commissioned our HTF Didot typeface in 1992, and fifteen years later, they’re still winning awards with it.

The flagging magazine that Liz Tilberis and Fabien Baron reinvented in 1992 has earned a place as one of the most significant redesigns in modern history. It debuted with an iconic cover that ASME ranks as one of the top ten covers in history, memorable not only for its striking portrait of Linda Evangelista, but for its arrestingly simple typography: in a font commissioned to be as crisp as possible, there appeared the single headline “Enter the Era of Elegance.” In an age when it’s not uncommon to run the entire table of contents on the cover, this was a brave and startling move. It’s telling that this same strategy is still serving Bazaar after all these years, and it speaks to the strength of the magazine’s editorial vision and the thought that went into its typography. So thanks to Stephen Gan and Glenda Bailey for including us in your continuing tradition, and to Fabien Baron and the unforgettable Liz Tilberis for making us a part of this extraordinary institution. —JH

Your project exceeds the 1,000k limit, so your changes have not been saved.

Try adding fewer fonts, fewer styles, or configuring the fonts with fewer features.