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Blog post by Soraya Abukhadra

VISIONAIRE. The word alone speaks the power of imagination, the importance of creativity and the beauty of art. Established in 1991, the publication Visionaire World blended culture, fashion, and art to create a new contemporary experience. One example in which I engaged with is VISIONAIRE TOUCH 33, found in the Cornell University Library’s Rare and Manuscripts Collection (see Figure 1) (K-113-E-4-B, collection number: 8572). TOUCH 33 was created by Francois Berthoudm, a protégé of Anna Piaggi and a member of a unique Paris Salon, who beautifully and successfully illustrated all 21 pages using the latest techniques in printing of the time (Berthoud, François). VISIONAIRE TOUCH 33 is one of many examples of Visionaire World, which were produced through collaborations with some of the most influential fashion houses.  The purpose was to create an alluring experience for the audience that, through physical contact,  reveals beauty to the eye and hand via an immersive encounter.  In addition to interacting with VISIONAIRE TOUCH 33, I had the pleasure of interviewing Dorothy Schefer Faux ‘69, Cornell alumna, former Senior Editor and Women’s Image Director of Vogue, co-founding Editor of Mirabella, and co-founder of gloss.com. During the interview, Ms. Faux shared her experiences with Visionaire World and how she came to donate her issues, including TOUCH 33, to the Cornell Fashion + Textile Collection, who later deposited the materials in the Library’s Rare and Manuscripts Collection. 

The grinding of metallics, the rubbing of pages, the luminous gold exterior guards the gates of a mystical experience inside the zeitgeist of booming fashion houses. Once you open TOUCH 33 and untie the rope wrapping an animal-like textile, you notice the fur hugging all 21 pages, providing a feeling of warmth and protection—and the experience begins: VISIONAIRE TOUCH 33 (see Figure 2).  The cover page immediately catches the viewer’s eye with its contrasting grained gold and soft fur; and the fence-like border of its box gives an illusion of depth and space. The luxurious exterior is only an introduction to the even more luscious interior. Aside from the cover page, each of the 20 pages reveals a fashion illustration brought to life using the power of mixed media.

 

For example, one illustration inspired by Chanel’s collection (see Figure 3) uses negative space and pattern to emphasize a pebbled form, knee-length skirt. The woman’s figure is outlined in gold and white cardboard; and the skirt comprises a glossy finish to highlight the repetitive stone-like pattern. The artistic choice here was to use a white-on-white that softens the intensity of the illustration. Instead of using black board as the background, there is a gentle contrast alluding to the outfit’s peace and comfort. VISIONAIRE TOUCH 33 uses mixed media and textiles throughout to bring these illustrations to life (see Figure 4). This perfectly encompasses the ideas and beliefs, as well as the goals of capturing mood and moment of this issue’s creator Francois Berthoud (Berthoud, Francois). The physical experience and interaction with the issue triggers a variety of joyful emotions to the viewer. 

Visionaire World was not easily accessible to everyone. Ms. Faux provided insight on Visionaire World, describing it as “magic delivered in a box to the creative club, who envisioned design, advertising, marketing and the DNA of fashion and beauty brands.” The beauty of VISIONAIRE TOUCH 33 was not in its luxurious fur–like feeling over gold metallic lace, or in the irresistible illustrations inspired and sponsored by Fendi; but its success in merging the ideas of many artists in a competitive market and workplace to create an extraordinary experience celebrating the fashion industry. Ms. Faux mentioned that because of the expense of producing each issue, access to Visionaire World publications was limited, and issues usually sold out quickly. Many consumers who wanted to own Visionaire World publications were on a waiting list. Exclusive and sought after, Visionaire World issues became more and more popular, encouraging the bigger, more luxurious fashion brands and companies to want to collaborate with the publisher. 

VISIONAIRE TOUCH 33 is made of “Flocking, foil stamping, sculpt-embossing, and honeycomb extension” (Visionaire 33 Touch Fendi) over a metal box and gives a luxurious and lively experience. While interacting with TOUCH 33, I began to ask the question, “Who is the VISIONAIRE audience?”  When I asked Ms. Faux this question,  she responded, “the creatives.” It took me a while to understand what she meant. I did not know if by “creatives” she meant solely the designers. Who are the creatives? My interpretation is that anyone can identify as a creative. The same way brands merge clothing with art, I believe there is not one category that creatives comprise.  

VISIONAIRE TOUCH 33 gives students a real-life interaction with fashion and design from the 1990s and 2000s. It is a way in which a student can physically hold the remains of fashion and the creativity of designers before us. And that is why Ms. Faux felt it was important to donate her collection of Visionaire World to Cornell– to give students the chance to explore and learn from this creativity and the experience of each Visionaire World issue. Visionaire World is not just a magazine, it is an experience. Art is for everyone. By having the unique opportunity to explore this issue and the entire collection, I have realized the importance of preserving pieces that help retell history through the lens of the “creatives” who formed the art, culture, and fashion at the time. Fashion is the anchor that allows for a dialogue about beauty, culture, art, and creativity – much like VISIONAIRE TOUCH 33 – in its desire to communicate about companies in an immersive, artful, and fun experience.  

 

Soraya Abukhadra, Fashion Design and Management Student at Cornell University’ 2025

 

Bibliography 

“About, Visionaire.” VISIONAIREWORLD, https://visionaireworld.com/pages/about.  

Faux, Dorothy. “Interview with Dorothy, Schefer Faux.” 2021.  

“Berthoud, François.” SHOWstudio, https://www.showstudio.com/contributors/francois_berthoud.  

“Visionaire 33 Touch Fendi.” VISIONAIREWORLD, https://visionaireworld.com/products/visionaire-33-touch-fendi.