This handsome volume chronicles the rise of the fashion house Chloé, a crucible of creativity for some of fashion’s most notable designers. The fashion brand Chloé may be sixty years old, but she still exudes a youthful elegance and femininity. As the first high-end Paris fashion house to sell exclusively ready-to-wear clothing, Chloé has since redefined its look for the modern woman with flattering colors, quality materials, and a series of must-have It bags. Chloé started in 1952 when Gaby Aghion invented the revolutionary idea of luxury prêt-à-porter, taking the craftsmanship of haute couture and making it available to a wider audience. Her focus on the beautiful yet wearable gave the line currency with chic young women. Born in Egypt in 1921 and moving to Paris when she was in her twenties, Aghion dressed some of the most fashionable and powerful women of her day, including Jackie O, Grace Kelly, and Brigitte Bardot. Her vision has always been maintained through the company’s extensive career. The company’s lively and fresh energy has been sustained through the decades partly because it seeks out new talent, including then-28-year-old designer Karl Lagerfeld, who started with the company in 1966. The book explores his career at Chloé, along with Martine Sitbon (in 1988), Stella McCartney, who joined Chloé when she was 26 (in 1997), and Phoebe Philo, who was responsible for Chloé’s major reinvention from 2001 to 2006, where she is credited for bringing a sensual and personal touch to the line. It is currently helmed by Clare Waight Keller, who previously reinvigorated the fashion line Pringle of Scotland. Chloé, in short, is the modern woman—refined and redefined.
Henry Darger was utterly unknown during his lifetime, keeping a quiet, secluded existence as a janitor on Chicago's North Side. When he died his landlord discovered a treasure trove of more than three hundred canvases and more than 30,000 manuscript pages depicting a rich, shocking fantasy world-many showing hermaphroditic children being eviscerated, crucified and strangled.
While some art historians tend to dismiss Darger as an unhinged psychopath, in Henry Darger, Throw-Away Boy, Jim Elledge cuts through the cloud of controversy and rediscovers Darger as a damaged, fearful, gay man, raised in a world unaware of the consequences of child abuse or gay shame. This thoughtful, sympathetic biography tells the true story of a tragically misunderstood artist. Drawn from fascinating histories of the vice-ridden districts of 1900s Chicago, tens of thousands of pages of primary source material, and Elledge's own work in queer history, the book also features a full-color reproduction of a never-before-seen canvas from a private gallery in New York, as well as a previously undiscovered photograph of Darger with his life-partner Whillie.
Engaging and arresting, Henry Darger, Throw-Away Boy brings alive a complex, brave, and compelling man whose outsider art is both challenging and a triumph over trauma.
From Christian Dior to Yves Saint Laurent and Alexander McQueen, many of the greatest fashion designers of the past century have been gay. Fashion and style have played an important role within the LGBTQ community, as well, even as early as the 18th century. This provocative book looks at the history of fashion through a queer lens, examining high fashion as a site of gay cultural production and exploring the aesthetic sensibilities and unconventional dress of LGBTQ people, especially since the 1950s, to demonstrate the centrality of gay culture to the creation of modern fashion. Contributions by some of the world's most acclaimed scholars of gay history and fashion - including Christopher Breward, Shaun Cole, Vicki Karaminas, Jonathan D. Katz, Peter McNeil and Elizabeth Wilson - investigate topics such as the context in which key designers' lives and works form part of a broader "gay" history; the "archeology" of queer attire back to the homosexual underworld of 18th-century Europe; and the influence of LGBTQ subcultural styles from the trouser suits worn by Marlene Dietrich (which inspired Yves Saint Laurent's "Le Smoking") to the iconography of leather. Sumptuous illustrations include both fashion photography and archival imagery.
Europe between the wars was full of fascinating characters, many of them forgotten today. Now Jean-Noel Liaut — a Frenchman who has written 11 books on subjects that include writer Karen Blixen, designer Hubert de Givenchy, model/actress Natalie Paley and antiques dealer/decorator Madeleine Castaing — has rediscovered one: Catharina Koopman, known as Toto. She was born in Java and became an haute couture model in Paris, then a spy for the Allies, an inmate in Ravensbruck, the longtime girlfriend of art dealer Erica Brausen and an archaeologist.
Koopman created a beautiful compound on the then-primitive Italian island of Panarea, where she and Brausen, who launched the career of Francis Bacon, entertained guests prominent in the arts and society. Their circle included Alexander Korda, Luchino Visconti, the Duchess of Devonshire, Joan Miró, Alberto Giacometti, Peter Brook, Pierre Boulez, Lee Miller and Bruce Chatwin.
Liaut tells her story in “The Many Lives of Miss K.: Toto Koopman — Model, Muse, Spy” (Rizzoli Ex Libris), translated by Denise Raab Jacobs. Its subject’s life offers many surprises. “She was a free spirit,” says Liaut. “She was fascinating for many different reasons. She spoke five languages fluently, she was a brilliant wit, she was beautiful, but it’s much more than that. All her friends are still completely captivated by her — the glamorous outsider.”
This is a bold claim, but i stand behind it: if you learn and follow these five typography rules, you will be a better typographer than 95% of professional writers and 70% of professional designers. (The rest of this book will raise you to the 99th percentile in both categories.)
All it takes is ten minutes—five minutes to read these rules once, then five minutes to read them again.
With energy and glamour, iconic photographer Craig McDean captures the celebrated evolution of fashion’s biggest muses: Kate Moss, Guinevere van Seenus, and Amber Valletta. With their waiflike frames and unique features that contrasted with the supermodels of the ’80s, Amber, Guinevere, and Kate became the anti-supermodels that, alongside grunge, signified a global shift in culture. And Craig McDean, an artist with a talented eye for the striking and unusual, photographed them from their beginnings. McDean, whose works are praised for their conceptual and sophisticated edge, is well respected in both the photography and fashion worlds. Shot on film from 1992 through 2002, this roughly chronological volume of 150 color and black-and-white images includes never-before-published photographs, outtakes from famous shoots, and contact sheets. Texts by Mathias Augustyniak of M/M (Paris) and author Glenn O’Brien add depth and perspective to the works. The photographs within this volume capture the essence of an era that changed fashion forever and will be treasured by fashion, style, and photography lovers from all generations.
The signature struts of today’s catwalkers, such as Cara Delevingne and Karlie Kloss, can be traced back to the early twentieth century, when the shift toward movement and modernity produced a desire to see clothes in motion. Staged in the U.S. and France, these first fashion shows were—as Caroline Evans posits in her new book, The Mechanical Smile—”a nodal point” for the convergence of everything from visual art and cinema to international trade and women’s liberation. “This shift occurs in the same period as cinema, so you have lots of moving devices, and people were particularly fascinated by the technology,” Evans, a professor of fashion history and theory at Central Saint Martins College of Arts and Design, told Style.com from London. “Collectively, it contributed to a sense of modernity and a sense of speed and acceleration.”
Following in that louche tradition of Mr Richardson and Mr Kern, South Africa’s Henrik Purienne is the latest photographer to specialise in sun-dappled shots of half-naked and ridiculously good-looking girls. His subject matter spans blonde to blonder and leggy to leggier, but what makes Purienne’s photography that bit more mouth watering is the sultry, 70s-poolside atmosphere that permeates his work. Were things just sexier back in those days? “Everything was so well designed, so timeless and cool. Including the girls,” suggests Purienne, whose first, eponymous book comes out this month.
The international, English language, multiple award-winning fashion and style magazine Stockholm New was published in a total of twelve issues over the years 1992-2002. It‘s a well-documented claim that the magazine was trendsetting, even groundbreaking, not only in Sweden but internationally. It‘s also generally acknowledged that Stockholm New played a key role in the creation of a new contemporary Sweden image” — that of a modern, cutting edge scene for fashion, trends, design, and a wide range of creative expressions.
Now the best of the classic material from Stockholm New has been selected for publication in a massive (more than 496 pages hardcover) coffee table book, along with a great deal of newly produced exclusive material — fashion, nudes, landscapes, architecture, still-lifes, art, cultural history, portraits, historic photography and more. The book will be launched on May 30th at the esteemed and historic Thielska Galleriet museum in Stockholm’s Royal Djurgården Park (www.thielska-galleriet.se) — a great event that also marks the opening of the exhibition Stockholm New — national romanticism from double turn of the centuries: contemporary fashion photography meets classic masterpiece painting.
Photographer Alexandra Carr met Paz de la Huerta--the actress and Boardwalk Empire star--in New York in 2007, shortly before Paz became the celebrity she is today, and they soon agreed to collaborate on a photo project. They began shooting in the fall of 2008, often using Paz’s small West Village apartment as a backdrop--which was mercifully well heated throughout that especially cold New York winter. A gorgeous, linen-bound volume, The Birds Didn’t Die over the Winter explores themes of love, loneliness and the difficult transition from youth into relative maturity. As Carr recalls, “it was made during a turbulent time in Paz’s life and her life is a subtext in an otherwise imagined reality. We would discuss a character and direction beforehand and then Paz would play out these roles partly of made up characters and of favorite scenes from films each shoot.” Paz is a charismatic subject throughout the book, at once fearless, sexual and vividly present, moving fluidly between roleplay and apparent candor. Carr explains the title: “[Paz] called one morning in the spring saying she had an idea for what we should call the book. She said she woke up and heard birds outside her window. She couldn’t believe they had survived such an abominable winter. It was a perfect metaphor for the book.”