""It was quite a challenge. There have been so many variations on Eustace, I thought it would make it easier, but actually it made it harder to find my own," Sherman told me. "I hoped the idea would come as I was working on it. I tried many things-found the hat but then the jackets didn't go with it until I tried this one," Sherman continued, pointing to a jacket that she got from the Salvation Army in the early two-thousands."
""Since the first variation of Eustace by R. Crumb in 1994, there have been forty-five interpretations published on the cover; yet Sherman's is the first one where the character is peering into a mirror. Sherman is thrilled to have broken new ground. "I was ready to quit, but once I found the jacket, hat, nose, and my Clarissa Bronfman butterfly ring-that's when it all fell into place," she added, laughing.""
For a hundred years The New Yorker covers featured drawings, with one exception in 2000 for the seventy-fifth anniversary. For the September 1 & 8, 2025 centenary issue titled "The Culture Industry," the magazine used Cindy Sherman’s photographic interpretation "Being Eustace" of the original Eustace Tilley masthead. Sherman assembled the look using a hat, a Salvation Army jacket acquired in the early 2000s, a nose from her collection, and a Clarissa Bronfman butterfly ring. Since R. Crumb’s 1994 variation, forty-five interpretations have appeared on the cover; Sherman’s is the first to show the character peering into a mirror.
Read at The New Yorker
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