Published by Kerber. Edited by Susanne Gaensheimer, Sophie von Olfers. Text by Michael Bracewell, Jason Evans, Jule Hillgärtner.
Fashion photography is about much more than just depicting clothes. Far larger conceptions of glamour, culture, sex and consumption play out every month in two-page advertising spreads in Vogue and W, and in the editorial shoots of Purple and V. Brazenly occupying the fraught overlap between art and commerce, the most provocative fashion photography combines exquisite come-ons with subtle affronts, to convention, to propriety, to our pride. The 1990s constituted an exciting moment in fashion photography, as a generation of practitioners made work that was bluntly physical and brash, celebrating music, subculture and intimacy in the most creative fringes of twenty- and thirty-something life. Not in Fashion collects some of the strongest photographs, campaigns and picture series from magazines of the 1990s--much of which was done by photographers who maintained careers as fine artists while executing editorial and campaign work for some of the industry's leading designers and publications. This volume includes seductive, challenging work by artists including Vanessa Beecroft, Walter van Beirendonck, Bernadette Corporation, Ayzit Bostan, BLESS, Mark Borthwick, Susan Cianciolo, Maria Cornejo, Corinne Day, Anders Edström, Jason Evans, Helmut Lang, Martin Margiela, M/M (Paris), Cris Moor, Kostas Murkudis, Collier Schorr, Nigel Shafran, Juergen Teller and Wolfgang Tillmans."
Published by Hatje Cantz. Text by Nele Bernheim, Lut Clincke, Laurent Dombrowicz, Agnes Goyvaerts, Siska Lyssens, Veerle Windels, Oscar Van den Boogaard, Karen Van Godtsenhoven.
Surreal, avant-garde and explicit are three keywords that are commonly associated with Belgian fashion. This exhibition catalogue gives a unique historic overview of Belgian fashion, starting with the legendary Antwerp Six--including Dries van Noten, Walter Van Beirendonck and Ann Demeulemeester--and leading up to the individualistic creations of Martin Margiela, A.F. Vandevorst and Raf Simons. The catalogue also highlights the work of several influential players in various fashion and art disciplines. Additionally, it touches upon the importance of the fashion academies, especially the Antwerp Academy and La Cambre in Brussels, and documents emerging talent such as Jean-Paul Lespagnard and Christian Wijnants.
Published by Damiani. Edited by Alexander McQueen, Nick Waplington. Text by Susannah Frankel.
In 2008 Alexander McQueen commissioned photographer Nick Waplington to document the creation of his Fall 2009 collection--all the way from inception to runway showing. Unfortunately, it was to be the last Fall/Winter collection that McQueen would stage before his untimely death. This show, which he titled The Horn of Plenty, found McQueen revisiting his 15-year archive of work and recycling it into a new collection. In effect, it was his personal survey of his work to date. The set was composed of broken mirrors and a giant trash heap made up of all the sets from his previous shows; critics have commented that this reflected McQueen’s feelings towards the fashion system and how it pressures designers to be creative geniuses while relegating each collection to the garbage bin of history as soon as it’s sold. Waplington was given unprecedented access to McQueen and his staff, which included the current Creative Director of the brand, Sarah Burton. Every step of the creative process is documented in fascinating detail and readers receive a rare insight into the inner workings of McQueen’s creative process. Most notably, McQueen himself placed the book’s layout, picture by picture, on storyboards. The book was ready for publication when McQueen died, then was put on hold--until now. This substantial overview, with more than 120 photographs, is published just as McQueen edited it, commemorating the most personal of his collections. It includes an essay by Susannah Frankel, Fashion Editor at Grazia (U.K.). Lee Alexander McQueen (1969–2010), CBE, was one of the most important fashion designers of the last two decades. He was the recipient of four British Designer of the Year awards, as well as the CFDA’s International Designer of the Year award, 2003. In 2011, following his death, the Costume Institute in New York organized an enormously successful retrospective of his work at the Metropolitan Museum of Art.Artist and photographer Nick Waplington (born 1970) has published several monographs including Living Room and The Wedding (Aperture), Safety in Numbers (Booth Clibborn) and Truth of Consequence (Phaidon). He lives in London and New York.
Published by Freedman|Damiani. Text by René Ricard. Photographs by Mario Sorrenti, Robbie Fimmano, Bob Recine.
The man behind some of the most avant-garde hairdos and head dresses worn by Lady Gaga, Recine has taken hair styling to incredibly creative heights-often literally, as he propels the braids and locks of his subjects into gravity-defying contours, augmenting them with sculptural gestures such as clumps of headphones or sunglasses, tendrils of Play-Doh and complex meshes of wire or cellophane. Starting out as an artist, Recine secured a project creating hairstyles and head ornaments for the windows of Henri Bendel. His designs caught the eye of world-renowned hair stylist Jean Louis David, who offered him the opportunity to travel to Paris and hone his craft; four years later, Recine returned to New York, armed with a portfolio of innovative stylings for top photographers and magazines. Today Recine is a legend among A-list celebrities, having worked with Gwyneth Paltrow, Charlize Theron, Naomi Watts, Angelina Jolie, Catherine Zeta-Jones, Kate Hudson, Renée Zellweger, Uma Thurman, Nicole Kidman and Tilda Swinton. His talents have even returned him circuitously to the world of fine art, for his extensive collaborations with Vanessa Beecroft. Alchemy of Beauty gathers original artwork by Recine, from sketches, collages and paintings to previously published and unpublished editorial images of his extraordinary sculpture and headdresses. Art direction for the volume is by Fabien Baron.
Published by Damiani. Edited by Maurizio Cattelan, Pierpaolo Ferrari, Humberto Leon, Carol Lim.
Kenzine is a collaboration between Toilet Paper magazine and Kenzo. Named after Kenzo's online blog, this fourth issue of Kenzine has been published in a limited run of 2,400 numbered copies. Toilet Paper was founded in 2010 by Maurizio Cattelan and Pierpaolo Ferrari with the art direction of Micol Talso as a picture-based magazine. Photos published in the magazine have been applied to a variety of products and media, exploring the multiple possibilities for images to live beyond the pages. Here, the Toilet Paper creative team met with Kenzo and ideated the advertising campaigns for the Fall-Winter 2013, Spring-Summer 2014, Fall-Winter 2014 and now Spring-Summer 2015 seasons.
Chanel's fashion shows are always unexpected, but with the set of Karl Lagerfeld's most recent Fall-Winter 2014/15 Prêt-à-Porter collection for the house, the designer seems to have finally outdone himself. The concept of the catwalk was born anew as the "Chanel Shopping Center," where models jostled with one another as they browsed shelves and placed items in their shopping trolleys. This was, of course, no normal supermarket but a spectacular ironic reinterpretation of Chanel 's beloved codes, where supermarket produce and packaging were re-designed according to Lagerfeld's wit and whim. There were thousands of items to behold including Mont Cambon wine, Mademoiselle Privé doormats, tweed energy drinks, Coco Flakes (to be eaten with no more than Lait de Coco), Paris-Dallas ketchup, lion-shaped pasta, as well as bottled water labeled "Eau de CHANEL No 0." The visual vocabulary of the supermarket equally informed Lagerfeld's collection: from chain shopping baskets, vacuum-packed handbags, bottletop and padlock-shaped jewelry, to iridescent outfits with shoplifter-sized pockets. This book preserves the Chanel Shopping Center in print, and is playfully styled as a mail order catalogue displaying all items seemingly for purchase-but only while stocks last.
Published by nai010 publishers. Text by Mark Wilson, Sue-an van der Zijpp, Ingeborg Harms, Francesca Granata.
Drawing inspiration directly from the nursery, Pippi Longstocking, Southern German lederhosen and “Bratwurst culture,” the fashion design duo Bernhard Willhelm (born 1972) and Jutta Kraus (born 1972) make clothing that radically intermingles popular culture and highbrow culture, the expensive and the cheap, tradition and innovation. Willhelm (who has worked as an assistant to Alexander McQueen, Dirk Bikkembergs, Walter Van Beirendonck and others) and Kraus make a deliberate break with traditional European ideals of beauty, projecting instead a patchwork of influences and juggling wild patterns, vibrant colors and contrast-rich prints. Other influences include Japanese martial arts, the iconography of the Medieval Dance of Death, contemporary sportswear and the singular stylings of the late Michael Jackson. Willhelm and Kraus bombard wearers and onlookers alike with an abundance of motifs.
Published by Damiani. Edited by Luca Beatrice, Matteo Guarnaccia.
Dame of the British Empire Vivienne Westwood is best known for her provocative SEX/Seditionaries boutique on Kings Road, and then perhaps her runway shows. Her shoes recently got a hit of mass-market retail power when she did a limited edition collection for a partnership including Nine West, Macy's and Vogue. Westwood was comparatively reserved in that work, but for other venues, her bulbous, curving platform soles sometimes grow to NBA-qualifying heights. This is the first book to gather Westwood's shoe designs, every one of them--140 examples, including the infamous platform that felled Naomi Campbell--from 1973 to the present day. Newly commissioned color photography documents each model, and detailed reporting explains their history, laying bare the designer's sources of inspiration and working practices. Vivienne Westwood Shoes includes a biography and chronology of the designer's life and work, most recently her 25th year of runway shows, a first major retrospective at the Victoria and Albert Museum, and designs for the rich and famous--from Tracey Emin to Cameron Diaz. It's essential reading and window-shopping for all fashion hounds, shoe fetishists and fans of the Queen of British design, who is at once the one of the greatest living British fashion designers and the most talked-about.
Visionaire is a multi-format album of fashion and art, published in exclusive, numbered limited editions. Since its inception in the spring of 1991, its relentless quest to push the idea of the printed magazine into increasingly uncharted areas has prompted Visionaire to pioneer issues that are wearable, edible, audible, sprayable, playable, magical, tactical, digital, and now--with its 63rd issue--indestructible. The world record-breaking and highly collectible publication takes another step along the path to immortality with Forever. Conceived with the support of G-Shock, makers of “the watch that never breaks,” this inkless and paperless issue of the magazine takes the durable capabilities of high-performance, weather-resistant gadgetry and applies them to the medium of the art and fashion image. Complete with an all-metal case that acts as a frame, the issue consists of ten embossed “pages” by artists including Inez & Vinoodh, Craig McDean, Yoko Ono, Richard Avedon, Maurizio Cattelan and Pierpaolo Ferrari. Working with CGI artists, Visionaire has transformed two-dimensional photographs into three-dimensional reliefs, which were then pounded into 9 x 12” embossed metal plates. With this new issue, Visionaire can proudly claim to have produced the first publication to be made entirely of metal.
Using the latest in printing technology, this issue of Visionaire changes before your very eyes. The world's leading photographers contribute black-and-white images that transform into color (or reveal hidden layers underneath) when exposed to direct sunlight. The cover of this large-format board-bound book features intricately embroidered artwork that turns to color, and the issue itself arrives inside a white plastic case composed of the same light-sensitive material. Watch this issue magically transform as you hold it in your hands!