The twentieth century witnessed the growth of an astonishingly stimulating relationship between the worlds of art and fashion. Salvador Dali, for example, produced a raft of witty, Surrealist designs for his friend the couturier Elsa Schiaparelli; the great Man Ray took some of fashion's most iconic photographs; while Andy Warhol translated a number of his best-known works onto fabric. Recent years have seen fruitful link-ups between today's fashion designers and artists - Jenny Holzer and Helmut Lang, Cindy Sherman and Comme des Garçons, Keith Haring and Vivienne Westwood... And some of art's most avant-garde practitioners have found dress to be a profound metaphor for the human body and the human condition. Art § Fashion charts the history of the relationship between the two genres and shows how the fashion system itself, as well as the fields of advertising and marketing, have been influenced and changed by that rapprochement.
The many influences of Italian culture on fashion powerhouse Dolce&Gabbana. From the Heart to the Hands pays tribute to the values of Fatto a Mano (hand-made), an essential part of Dolce&Gabbana since its founding in 1985. The book brings together a unique collection of Alta Moda and Alta Sartoria garments, exquisite jewelry, and archival treasures for the first time. Curator Florence Müller explores Dolce&Gabbana’s Italian heritage and the enduring influence of Italian culture in inspiring some of the brand’s most iconic and innovative collections. The book’s ten chapters—handcraft, artistic glass, the leopard, devotion, the workshop, architecture, the white baroque, Sicilian traditions, goddesses and opera—combine runway and editorial photography with images of art, architecture, movies, and artisanal craft. An open love letter to Italian culture and Dolce&Gabbana design, this project serves as a translation of Domenico Dolce’s and Stefano Gabbana’s ideas, from the heart through to their realization by hand. Behind-the-scenes images reveal the intricate fabric inlays, leatherwork, embroidery, lacework, crochet, beadwork, and multitude of other techniques that brings each garment to life.
Reaching beyond the intimate setting of the fashion show, the photographer paints a portrait of haute couture that takes the couturier’s intention to enchant the public and elevates it to the level of the sublime. The great names in photography, the mythical photos that have constructed Dior’s image, and the emblematic subjects of the house’s iconography—whether they are dreams of a faraway place or captured in the vast open-sky “studios” of Paris or Versailles—are all evoked in this vast panorama that takes us through more than sixty years in the history of fashion photography. Published to accompany the Dior and Fashion Photography exhibition presented at the Musée Christian Dior in Granville, France, this lavish volume presents a wealth of gorgeous photographs that bring the character of the couturier’s dresses to life, with each photographer interpreting them in his or her unique style. Legendary contributors include Horst P. Horst, Richard Avedon, Irving Penn, Cecil Beaton, Norman Parkinson, Henry Clarke, William Klein, Helmut Newton, Guy Bourdin, Sarah Moon, Paolo Roversi, Nick Knight, Ines Van Lamsweerde and Vinoodh Matadin, Tim Walker, Willy Vanderperre, Patrick Demarchelier, and many more. Stunning, glamorous, and iconic, Dior and Fashion Photography exemplifies how the haute couture house transcended fashion to enter the realm of legend.
This volume is an unprecedented history of Louis Vuitton’s women’s bags, the most coveted line of accessories in women’s fashion. At the heart of Louis Vuitton are its City Bags, a range of women’s bags that dates back to the turn of the twentieth century. Featuring the trademark monograms of the house, the City Bag story began with the Steamer, a resort bag designed in 1901 to be packed inside a much larger steamer trunk. These bags have in a hundred years formally diversified into a dizzying array of handbags for every conceivable function demanded by the modern woman. Profoundly influential, City Bags are now known to millions by their descriptive names (Keepall, Bucket, Papillon, Alma, Locket, Noe, Speedy) and are still evolving into more fantastical forms. Lavishly illustrated with new and archival photography, historical graphics, landmark editorials, and ad campaigns, the volume traces the history of these specific bag families, and examines the earliest specimens and today’s most sought-after collectibles, including Vuitton’s collaborations with Takashi Murakami, Stephen Sprouse, Richard Prince, Yayoi Kusama, and Rei Kawakubo and one-off projects by Zaha Hadid, Shigeru Ban, Vivienne Westwood, Helmut Lang, Andrée Putman, and of course, Marc Jacobs. Louis Vuitton: City Bags is an ambitious volume on the creation and cultivation of a cultural phenomenon.
This is a love letter to the cinema from the House of Dior, featuring legendary screen actresses in signature Dior. Embraced by Hollywood, the fashions of Christian Dior have been worn by the likes of Marlene Dietrich, Lauren Bacall, Ava Gardner, Marilyn Monroe, Sophia Loren, Elizabeth Taylor, Charlize Theron, Penelope Cruz, and Nicole Kidman.
Focusing on the late eighteenth and early nineteenth centuries, this volume highlights the scientific and philosophical inquiry into heredity and reproduction and the consequences of these developing ideas on understandings of race and gender. Neither the life sciences nor philosophy had fixed disciplinary boundaries at this point in history. Kant, Hegel, and Schelling weighed in on these questions alongside scientists such as Caspar Friedrich Wolff, Johann Friedrich Blumenbach, and Karl Ernst von Baer. The essays in this volume chart the development of modern gender polarizations and a naturalized, scientific understanding of gender and race that absorbed and legitimized cultural assumptions about difference and hierarchy.
Friday morning Frau MŸller and Ferdinand jumped into a fiaker and drove to the railroad station to meet Teresa Runkel. She was a fine-looking child, with round, rosy cheeks; quite tall, with the fair complexion, sunny hair, andsoft, Austrian blue eyes that makes the women of that land famed for their beauty. She was overjoyed at this unexpected pleasure of spending a day or two in the city of Vienna, which she had never seen, although she had passed through several times on her way to and from the convent. She enjoyed the brisk drive to the tall apartment house in the Schwanengasse, and she fairly bubbled with chatter. "After luncheon, my dear," observed Frau MŸller, "we shall have Herr MŸller take you about our city; for Vienna is vastly different from Linz." Herr MŸller joined the party at luncheon at eleven o'clock, which was really the breakfast hour, because Austrian families take only coffee and cakes or rolls in the early morning, eating their hearty breakfast toward the middle of the day, after which they rest for an hour or two, before beginning their afternoon duties. At two o'clock the three were ready for theÊwalk, for Frau MŸller was not to accompany them. Joseph, the portier, an important personage in Viennese life, nodded "A-b-e-n-d" to them, as they passed out the front door of the building, over which he presided as a sort of turnkey. No one may pass in or out without encountering the wary eye of Joseph, who must answer to the police for the inmates of the building, as also for the visitors. And this is a curious custom, not only in Vienna, but other European cities, that immediately upon one's arrival at an hotel, or even a private home, the police are notified, unawares to the visitor, of his movements and his object in being in the city, which reduces chances of crime to a minimum; burglary being almost unknown, picking pockets on the open streets taking its place in most part. Ê
The exhibit shows work by Japanese designers who started a fashion revolution in Paris. The exhibition features 70 looks by powerhouse designers Issey Miyake, Kenzo Takada, Kansai Yamamoto, Yohji Yamamoto, Comme des Garçons, and Junya Watanabe, whose impact on fashion still resonates today. Works on view illustrate concepts such as the intersection of tradition and modernity; the influence of pop-culture motifs; molding the body versus hiding the body with oversized shapes; reinventing the traditional Western representation of femininity; collaborations between contemporary artists and fashion designers; and other diverse ways of challenging the fashion system. Emphasizing these elements, the exhibition demonstrates how Japanese designers confronted the work of European designers (such as Jean Paul Gaultier, Anne-Marie Beretta, Azzedine Alaïa, and Thierry Mugler) during the 1980s, while they inspired younger European designers (such as Martin Margiela, Helmut Lang, John Galliano, and Dries Van Noten) in the 1990s"--Publisher's description.
Friday morning Frau MŸller and Ferdinand jumped into a fiaker and drove to the railroad station to meet Teresa Runkel. She was a fine-looking child, with round, rosy cheeks; quite tall, with the fair complexion, sunny hair, andsoft, Austrian blue eyes that makes the women of that land famed for their beauty. She was overjoyed at this unexpected pleasure of spending a day or two in the city of Vienna, which she had never seen, although she had passed through several times on her way to and from the convent. She enjoyed the brisk drive to the tall apartment house in the Schwanengasse, and she fairly bubbled with chatter. "After luncheon, my dear," observed Frau MŸller, "we shall have Herr MŸller take you about our city; for Vienna is vastly different from Linz." Herr MŸller joined the party at luncheon at eleven o'clock, which was really the breakfast hour, because Austrian families take only coffee and cakes or rolls in the early morning, eating their hearty breakfast toward the middle of the day, after which they rest for an hour or two, before beginning their afternoon duties. At two o'clock the three were ready for theÊwalk, for Frau MŸller was not to accompany them. Joseph, the portier, an important personage in Viennese life, nodded "A-b-e-n-d" to them, as they passed out the front door of the building, over which he presided as a sort of turnkey. No one may pass in or out without encountering the wary eye of Joseph, who must answer to the police for the inmates of the building, as also for the visitors. And this is a curious custom, not only in Vienna, but other European cities, that immediately upon one's arrival at an hotel, or even a private home, the police are notified, unawares to the visitor, of his movements and his object in being in the city, which reduces chances of crime to a minimum; burglary being almost unknown, picking pockets on the open streets taking its place in most part. Ê
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