Published by FUEL Publishing. Edited by Jonny Trunk, Damon Murray, Stephen Sorrell.
For early devotees of leather, rubber and vinyl fetish wear, Atomage magazine was the underground bible of the 1970s. Founded, designed and published by the English designer John Sutcliffe as a platform for his extraordinary talents as a manufacturer of weatherproofs for lady pillion riders, it quickly became a rallying point for explorers of every kind of fledgling clothing scene, functioning as both an instruction manual and a mirror. The experimental clothing showcased in its pages, including items made by the readers themselves, transformed a passion for a sexual proclivity into a cult phenomenon. From motorbiking and mask-wearing, to mudlarking and wading worship, Atomage covered every conceivable variant on and use for fetish wear. The amateur photographs reproduced here reflect a golden age of DIY enthusiasm, before fetish became the industry it is today, and inadvertently depict a suburbia from which dressing for pleasure was a necessary escape. The outrageous costumes found in Atomage also served as inspiration to a then-new generation of fashion designers such as Vivienne Westwood, and many of these costumes have since been acquired by high-end collections. Compiling the most astonishing imagery from all 32 issues of this now extremely rare and sought after cult magazine, Dressing for Pleasure illustrates not just Sutcliffe's exceptional designs, but also, through their own photography and writings, the fantasies and desires of the Atomage followers.
Published by Damiani. Edited by Mario Lupano, Alessandra Vaccari.
The first visual history of Modernist Italian fashion during Benito Mussolini's Fascist regime, and the product of immense research, Fashion at the Time of Fascism charts the fashion industry's ambivalent negotiation of international couture and the bizarre dictates of Fascism, and the legacy of this era in shaping today's fashion industry. Authors Mario Lupano and Alessandra Vaccari explore and compare a huge range of forgotten archival sources, such as women's glossies, fashion, film and gossip magazines, photo archives, exhibition and commercial catalogues, books, manuals and magazines on tailoring, dressmaking, design and architecture, and corporate and government journals. This abundance of materials is presented in a fluid sequence of image and text that charts the rhythms, rituals and lifestyles of the typical Italian day through the four basic themes of "Measurements," "Model," "Brand" and "Parade." Each section includes texts that highlight the key figures and phases in Italian fashion, from the 1920s to the early 1940s, juxtaposing them with Modernism's broader salient themes and emphasizing the conscious use of glamour in the regime's super-choreographed portrayal of itself. Fashion at the Time of Fascism is further enriched by a thorough iconographic index and a detailed reference list, making the volume a revelation for both general readers and scholars.
A huge Afro frames the deadpan features of a bikini-clad sunbathing woman, her luxuriant skin dotted in pinpoints of perspiration... a close-up of a female hand with perfectly varnished nails leads to a cigarette held between fleshy red lips.... a model mouths her way around a suggestively pink lollipop... Yes, this is the calendar world of the late 1960s, as rendered by Harri Peccinotti. A fashion photographer, graphic designer and all-around artist whose work strongly influenced the fashion and collective imagination of the day, Peccinotti coined the Pirelli-calendar idiom of gleaming bodies and strong, sleek sexuality. Both objects of the male gaze and liberated leaders of the sexual revolution, women are certainly the protagonists of H.P.--sexy, sporty, independent, portrayed on dream beaches or against the background of original fashion sets. From his celebrated sunflower for the 1968 Pirelli calendar to his famous nude immersed in a bathtub of green water, H.P. presents a broad selection of shots published in fashion magazines, together with page proofs, book jackets and album covers created by Peccinotti over a period of about 40 years.
Harri Peccinotti, born in 1938, served as Art Director of Flair, Vanity Fair, Rolling Stone, Vogue and Nova--one of the most influential magazines of the 1960s, which introduced epoch-making changes in graphics, formats and photo editing. One of the first photographers to bring black women into fashion photography, Peccinotti's fame is synonymous with two Pirelli calendars (1968 and 1969) and, as a designer, with the restyling of the French daily Le Matin in the 1970s.
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."
Indian haute couture is conquering catwalks worldwide. For many, Indian fashion conjures multi-colored saris and gold embroidery, but the designers featured in this volume are turning that cliché on its head by creating global styles without losing sight of tradition. This book documents the scene, with an in-depth look at designers as diverse as Fightercock (a collaboration between Abhishek Gupta and Nandita Basu, who claim on one of their t-shirts that "The Revolution must wear Fightercock"), AtpuG varuaG (who won Breakthrough Designer of the Year at the MTV and Zoom Style Awards in 2006) and Kavita Bharthia (who is known for both Indian and Western styles, impeccably finished on handlooms, which incorporate cottons and silks, scarves, stoles and knits). Other featured designers include Gayatri Khanna, Anamika Khanna, Small Shop, Anuj Sharma, Ashish N Soni, Ayesha Depala, CUE, Deepika Govind, Drashta Sarvaiya, Falguni & Shane Peacock, Manish Arora, Nachiket Barve, Namrata Joshipura, Nimita Rathod, Nitin Bal Chauhan, Prashant Verma, Rajesh Pratap Singh, Ranna Gill, My Village, Sabyasachi Mukherjee, Savio Jon, Shantanu & Nikhil, Shantanu Goenka, Swapnil Shinde, Varun Bahl, Wendell Rodricks and Bounipun. Contemporary Indian Fashion offers a host of experimental techniques for textiles, pattern cutting and sculptural draping, as well as the mixing of natural and synthetic fibers and unlikely juxtapositions such as jersey or chiffon with leather.
Published by Museum of Contemporary Art Detroit. Introduction by Marsha Miro. Text by Harold Koda, Sylvia Lavin, Judith Thurman, Michael Stone-Richards.
Rei Kawakubo (born 1942) established Comme des Garçons in Tokyo in 1973 and quickly consolidated her stature as one of the three major Japanese designers alongside Issey Miyake and Yohji Yamamoto. Kawakubo's conceptions stem from her background in fine arts and literature rather than from any formal design training. Her fabrication methods, and her collaborations with artists such as the late, great Merce Cunningham, are explored in this survey of her work. ReFusing Fashion presents over 40 key garments, costumes from Kawakubo's Cunningham collaboration, photographs, runway footage and ephemera.
PUBLISHER MUSEUM OF CONTEMPORARY ART DETROIT
BOOK FORMAT Paperback, 8.5 x 11 in. / 138 pgs / 128 color.
PUBLISHING STATUS PUB DATE 4/30/2011 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2011 p. 28
PRODUCT DETAILS ISBN 9780979199141TRADE LIST PRICE: $45.00 CDN $55.00
AVAILABILITY Not Available
STATUS: Out of print | 00/00/00
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Published by Visionaire Publishing, LLC. Edited by Mario Testino.
Photographer and guest curator Mario Testino uncovers all in this new edition of Visionaire devoted to sex. Widely known for his iconic fashion images and celebrity portraits, Testino is also an avid collector of contemporary art. Here, he chooses a selection of provocative and often graphic pieces by artists such as Ghada Amer, Cecily Brown, Marlene Dumas, Tracey Emin, Angus Fairhurst, Sarah Lucas, Vik Muniz, Thomas Ruff and Lisa Yuskavage. Testino pushes the envelope by including in this issue of the limited edition quarterly a parcel containing five of his own previously unpublished photographic prints. In addition, you can expect Visionaire's trademark boundary-breaking design, plus the extras, in this case, a silk-screened Plexiglas case containing a hardcover book of both color and black-and-white images as well as customized tactile inserts including latex, embroidery, embossing and a swatch of supermodel Gisele's bedsheets. In other words, sex isn't just for reproductions. Because of the too-hot-to-handle contents, Uncensored also comes with a discretionary warning: “This issue of Visionaire contains graphic images of a sexual nature. If you find this kind of material offensive, you should not purchase it.” If you don't, though, you should.
Fashion photographer Bob Richardson (1928-2005) first began to publish his powerful, transgressive and emotionally charged black-and-white images in the high-fashion press of the 1960s, highlighting the new freedoms and attendant disillusions of the era in a distinctive, maverick style that matched his own edgy way of life. According to Cathy Horyn of The New York Times, ""Mr. Richardson's pictures were radical because, more than showing youthful fashion in a liberated way, they sought to expose the life dramas that were then consuming young people."" They were dark and conflicted, abject and suggestive, fleeting, broken, knowing and yearning. Always a cult photographer (and widely credited with influencing such peers as Peter Lindbergh, Steven Meisel and Bruce Weber), Richardson was also plagued by schizophrenia, and he lived hard-experimenting freely with sex and drugs throughout a life of extreme highs and lows. For example, he is perhaps most famous for the profoundly compelling portraits he made of his then-partner and muse Angelica Houston in the 1970s, while the 1980s found him homeless and living on the streets of Los Angeles. This highly-anticipated, beautifully-produced volume is the first ever dedicated to Richardson's oeuvre. Put together by his son, the equally renowned photographer Terry Richardson, it collects what remains of the original work, much of which was destroyed over the course of Richardson's unpredictable career.
Each issue of Fashion Magazine is given over to the work of a single photographer; to date, Bruce Gilden, Martin Parr, Lise Sarfati and Alec Soth have all created acclaimed and instantly collectible editions of the magazine. For its fifth issue, Fashion Magazine invites Italian photographer and photojournalist Paolo Pellegrin (born 1964) to build a narrative from an array of his images--aerial views, portraits, fashion photos and double-page advertising. Pellegrin presents some 200 images, some of which are spreads, and about half of which are full color. Pelegrin's photography has been the subject of six previous monographs, among them Kosovo 1999-2000: The Flight of Reason (2002), Double Blind (2007) and As I Was Dying (2007). He is a member of Magnum and a contract photographer for Newsweek.
Published by Cooper Hewitt, Smithsonian Design Museum. Edited by Matilda McQuaid, Susan Brown. Text by Matilda McQuaid, Petra Timmer, Matteo de Leeuw-de Monti.
Painter, textile and stage designer and co-conspirator (with her husband Robert Delaunay) of the Orphist movement, Sonia Delaunay is a heroine of early modernist art and design. Known primarily as an abstract painter and colorist, Delaunay applied her talents and theories to all areas of visual expression, including graphics, interiors, theater and film, fashion and textiles. A characteristic of Delaunay's work is a vivid sense of movement and rhythm through careful color combination. Color Moves: Art & Fashion by Sonia Delaunay focuses not only on her art but also her avant-garde fashion designs for her Atelier Simultané in Paris during the 1920s, as well as textiles she designed for the Metz & Co department store in Amsterdam in the 1930s. The book features essays by Delaunay experts Matteo de Leeuw-de Monti, Matilda McQuaid and Petra Timmer, accompanied by more than 300 paintings, drawings, designs, textiles, garments and photographs. Born Sarah Ilinitchna Stern, in the Ukraine, Sonia Delaunay (1885-1979) was raised in St. Petersburg, in Russia. After a brief period of study in Germany, she moved to Paris in 1905, and began painting in the Fauve style of Matisse and Derain. In 1909 she met Robert Delaunay, and together they devised a brighter version of Cubism that their friend, the poet and art critic Guillaume Apollinaire, termed Orphism. Also among their friends was the poet Blaise Cendrars, and one of Delaunay's best-known works is her 1913 accordion-fold artist's book collaboration with Cendrars, La prose du Transsibérien. In addition to her prolific 75-year painting career, she created brilliant textiles and fashion works for nearly three decades.