Fili was also described, after this publishing, as вЂњthe woman that saved New YorkвЂќ by Phillip Briggs. This came into use when discussing book jackets in publishing circles. Also, after the debut of The Lover, the term Pantheonesque was coined. Pantheon gifted her with carte blanche, or complete creative freedom. The design also brought huge success to Fili herself. It brought huge success to Pantheon, being its first bestseller since Dr. The LoverвЂ™s book jacket made it a runaway bestseller. This represents FiliвЂ™s astounding ability to take whatвЂ™s old and make it new.

The black and white image gives the cover a vintage vibe as well. The font Fili created for The Lover has a heavy Deco resemblance. In the 1980вЂ™s there was a reoccurrence of Art-Deco styles, especially in graphic design. This book jacket not only reflects FiliвЂ™s personal style and aesthetic, it also represents popular design styles of the time. Also, she added a soft, vignette portrait of Duras at age fourteen. She designed the book jacket subtly and ethereally, with custom typography, avoiding large bold text that shouted at the viewer. Her design for The Lover represents her вЂњquiet conquestвЂќ of the Pantheon production and design process. Fili slowly introduced changes in PantheonвЂ™s designs including matte lamination, softer palettes, unusual paper stocks, and unconventional illustration. She believed that a book jacket could be alluringly beautiful. She also wanted to change the overall style and design technique of the book covers at Pantheon overall. Thus, the projected sale of The Lover in America was not very high.ДЇiliвЂ™s mission with this cover was to step away from the loud design of book jackets that was popular at the time. Duras was a French writer, and even though her work was famous in France, she was barely known in the United States. Louise Fili designed the cover for The Lover by Marguerite Duras in 1985 when she was art director for Pantheon Books at Random House.

The lover duras identity