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This fascinating publication presents the roles two men have played in turning a small workshop in nineteenth-century Paris into one of the most successful and recognized brands in the world. Known for both craftsmanship and must-have high design, Louis Vuitton the luxury house was started by its eponymous founder in 1854. The first half of this publication traces the innovations by Vuitton, who turned the little-known guild profession of emballeur (packer) into the foremost luxury trunk maker in Paris, with a clientele that included in his lifetime the French nobility as well as the elite of a prosperous empire. Prime and never-before-seen examples of Vuitton’s craftsmanship, along with the fashion that went into them, are the highlights of these chapters. The second half of the book examines the role of Marc Jacobs as Louis Vuitton’s creative director (since 1997), who took the Louis Vuitton house into a new era with a series of collaborations with artists and designers—such as Takashi Murakami, Richard Prince, and Stephen Sprouse—as well as designing a line of highly successful and desired clothing for the company. By examining two divergent but often similar careers one hundred years apart, Louis Vuitton / Marc Jacobs is not only a layered study of the evolution of a luxury brand in the past 150 years but also a celebration of technical and design innovations in the new century.

While it has long been an essential element of interior decor, wallpaper is currently experiencing a creative boom. This everyday material has always reflected social shifts as well as changing fashions, and now designers everywhere are rediscovering its versatility, using it to achieve a variety of imaginative effects. It can add texture, warmth, wit, or personality to any space, becoming a tranquil backdrop or a striking conversation piece. A room may be papered with a profusion of patterns, or a wallpaper mural can make a bold statement, even blurring the boundaries between design and art installation.This book explores the art of wallpaper from its historical beginnings to the present day. Beginning with the handcrafted papiers peints of the eighteenth century through the Arts and Crafts movement, modernism, and Pop art, it traces the influences behind today’s popular motifs and showcases a dazzling selection of the very best in contemporary wallpaper. Some designers are reviving and reinventing traditional craft techniques while others embrace the latest in digital printing technology, even incorporating glow-in-the-dark effects or LED lights.

Jacqueline Groag was probably the most influential textile designer in Britain in the post Second World War era. Although originally Czech, she studied textile and pattern design in Austria in the 1920s. During the late twenties and early thirties she designed textiles for the Wiener Werkstatte in Vienna and subsequently designed and produced unique hand printed lengths of fabrics for many of the leading Parisian fashion houses, including Chanel, Lanvin, Worth, Schiaparelli and Paul Poiret. She was awarded a gold medal for textile design at the Milan Triennale in 1933 and another gold medal for printed textiles at the Paris World Fair in 1937. Jacqueline was not only a serious and highly respected contender in the field of textile and pattern design but, with her husband, the Modernist architect Jacques Groag, was also deeply immersed in the intellectual life of Vienna.In 1938 the sophisticated world of Jacques and Jacqueline was brutally shattered when the Anschluss, the political unification of Austria and Germany, occurred and the German army entered Vienna. Faced with the actuality of the Nazi terror the Groags, who were Jewish, fled to Czechoslovakia and their home city of Prague. After a brief respite they were once more forced to flee in 1939, this time to London. On their arrival in England they were welcomed and championed by leading members of the British design fraternity, amongst whom were Sir Gordon Russell, the doyen of British architects Sir Charles Reilly and Jack Pritchard, founder of the modernist design company, Isokon. Much of the Contemporary style of the textiles and wallpapers shown at the 1951 Festival of Britain were heavily indebted to Jacqueline's influential designs of the 1940s. Many examples of her work were featured prominently at the Festival and from then on she became a major influence on pattern design internationally. She developed a large client group in the United States during the fifties and sixties, amongst whom were Associated American Artists, Hallmark Cards and American Greetings Ohio.In the later 1950s and throughout the 1960s she became increasingly involved with Sir Misha Black and the Design Research Unit (D.R.U.), working on the interiors for boats and planes and trains, particularly the design of textiles and plastic laminates for BOAC and British Rail. One of her last commissions from Misha Black, in the mid-seventies was a distinctive moquette for London Transport, for seating on both buses and tube trains. Her work and influence did not just extend to the large corporations and exclusive couturiers but was familiar to the general public through stores and companies such as John Lewis, Liberty of London, David Whitehead, Edinburgh Weavers, Sandersons, Warerite and Formica. Her remarkable achievement finally received public recognition in 1984 when, at the age of 81, she was made an R.D.I. - a Royal Designer for Industry - the ultimate accolade for any designer in Britain.

Until now, the rich textile tradition of the Ottoman Empire has rarely been been given the detailed consideration it deserves. Sumru Belger Krody here examines the practice of the intricate art of embroidery, which united the various ethnic and religious groups of the empire under a single aesthetic and gave rise to flowers of silk and gold that still enchant our imagination.The Imperial City of Istanbul was the seat of power of the Ottoman Empire for nearly five hundred years, and like most imperial capitals it was a center for trade. The bazaars of this cosmopolitan, ethnically diverse city were famous for the embroidered textiles produced both by men in the city's workshops, and by women in the seclusion of the harems. In the decoration of their homes, the Ottomans mirrored the colors and abundance of their astonishing gardens; the wall hangings, cushions, and divan covers of the private houses of the city, products of the most exquisite design on the finest and rarest of cloth, combined to give an impression of opulence and luxury to astonished Western eyes. Embroidered textiles served as furniture and ornament in daily life and during rites of passage, while their production and sale provided an income for their makers, who occupied every level of Ottoman society up to the Palace harem and court workshop. The Textile Museum's renowned collection of Ottoman embroidery began with a single purchase by its founder, George Hewitt Myers, in 1915. Flowers of Silk and Gold introduces this little-known but highly important collection for the first time. Examining the history of the various stitches, fabrics, and designs employed during Ottoman rule in Europe and Asia, as well as the social, political, and economic factors influencing their production and consumption, Flowers of Silk and Gold combines perspectives to give an engrossing insight into the glorious works of art of an unfamiliar, much-fantasized world.

KING KONG è una rivista semestrale indipendente e dinamica nata per presentare artisti all'avanguardia attraverso arte, moda, cinema, musica e letteratura. KING KONG dimostra la capacità dell'arte di rispondere a idee ed eventi che modellano la nostra esperienza contemporanea. L'arte e la moda non operano nel vuoto e noi rappresentiamo questa espressione e innovazione multidisciplinare. KING KONG STUDIO agisce come agenzia creativa offrendo un servizio come think-tank sulla creatività e produzione. Dai sogni ad occhi aperti ai progetti, dalla carta alla mostra, dalla presenza virtuale alle feste di benessere, dalle idee alla realtà funzionante.

This lavisly illustrated book tells the history of Horrockses Fashions, one the most famous postwar British ready-to-wear labels. In the late 1940s and throughout the 1950s, Horrockses’ created designs with a fresh, distinctive look, and were celebrated for their lively floral prints and full-skirted summer dresses, which were popular with women of every background, including the royal family. In addition, they collaborated with contemporary artists such as Eduardo Paolozzi, Alastair Morton, and Graham Sutherland to design textiles. The book includes interviews with many of the people who made, wore, and designed these dresses and reproduces magazine spreads and illustrations from the period.Horrockses maintained an air of exclusivity for the brand with an emphasis on good quality fabrics, especially the finest cotton, with custom-designed patterns and an emphasis on couture styling.  Their fashions are highly collectable today. Horrockses Fashions tells the story of this iconic label and its role in the history of British fashion while also exploring the connections between couture and ready-to-wear fashions in the post-WWII decades.

Casual clothing, swimwear in particular, is strongly associated with the California lifestyle, and the design and manufacture of casual clothing has long been the foundation of California's garment industry. This book explores that industry as it developed in California from the 1930s through the 1970s, with emphasis on clothing and textile designs suffused with the sunshine spirit. Included are fashions from major swimwear companies such as Catalina, Cole, and Rose Marie Reid; sportswear from leaders like Koret and Alice of California; and a wonderful chapter paying tribute to that most western of fabrics, blue denim. More than 330 photographs and advertisements illustrate the colorful, cheerful, and charming nature of vintage casual clothing. Collectors, designers, and fashion historians will appreciate the profiles of California artisans and their influence on fabric technology. Includes price guide and a helpful glossary of fashion and fabric terminology.

Interviste ai più importanti nomi della moda: Alexander McQueen, Vivienne Westwood, Paul Smith e Hussein Chalayan; così come grandi nomi internazionali provenienti da Giappone, Italia, Francia e Stati Uniti: Rei Kawakubo di Comme des Garcons, Yohji Yamamoto, Issey Miyake, Tom Ford, Valentino, Yves Saint Laurent, Dolce & Gabbana, Donatella Versace, Sonia Rykiel e altri. Le interviste forniscono uno spaccato della vita dei designer, dettagli biografici completi e analisi del modo in cui pensano e lavorano, oltre a registrare il clima culturale in quel momento. Il libro è illustrato con ritratti e scatti di alcuni dei migliori fotografi di moda di oggi - sia più affermati che emergenti - tra cui Robert Wyatt, Juergen Teller, Donald Christie, Julie Sleaford, Mark Aleski, Justin Smith e Jane McLeish.

Anni di ricerca e di indagini in Ghana, Togo, Burkina Faso, Mali e Costa d'Avorio hanno consentito all'autore di esplorare a fondo vari aspetti dell'industria tessile di questi Paesi. Cera, tessitura, tintura a bacino, bogolan, adinkra e serigrafia sono alcuni dei temi trattati da Anne Grosfilley, che racconta la storia dei tessuti e descrive il know-how degli artigiani, molti dei quali hanno aggiornato le loro tecniche tradizionali utilizzando materiali industriali, rivisitati poi da designer di haute couture. Lontano da una visione nostalgica di tradizioni in via di estinzione, questo lavoro offre uno sguardo su un'identità in continua evoluzione, che si esprime attraverso una creatività sempre viva. Viene anche esplorato come le relazioni tra Europa e Africa possano essere lette attraverso i tessuti, riflettendo la diversità dei popoli africani, dalle regioni del Sahel a quelle costiere. Il risultato è un ritratto vibrante, ricco di colori e dinamico di uomini e donne che si esprimono attraverso i loro tessuti, con fotografie che enfatizzano l'importanza etnologica di questa testimonianza. 

This beautiful reference work showcases 50 iconic outfits from one of fashion's most influential and exciting decades. Featured designers and style icons will include Jimmy Choo, Prada, Sarah Jessica Parker, Marc Jacobs, Princess Diana (post divorce), Kate Moss, Corinne Day, Grunge, Naomi Campbell, Linda Evangelista, Cool Britannia, Topshop, Julian Macdonald, Modern Preppy, Herve Leger, Matthew Williamson, Gianni Versace, Hip-hop and the Rachel haircut. With Paula Reed's lively and informative text and a wealth of fabulous photography, it is vital reading for design students, collectors of vintage, and everyone who truly loves fashion.

Questo catalogo riccamente illustrato accompagnerà una mostra al Brighton Museum and Art Gallery nel 2006. Gli oggetti esposti sono tratti dall'ampio guardaroba di quattro generazioni della famiglia di Lord Snowdon: Messel-Rosse-Linley-Sambourne-Snowdons. Il libro utilizza questi esempi per tracciare l'evoluzione dell'elegante abito inglese dalla fine del XIX secolo agli anni '70 e viene portato ai tempi moderni attraverso oggetti prestati da familiari viventi.

Girls, girls, girls! There's no more popular subject for the modern rock poster than the ubiquitous poster girl. In this second pint-sized spin-off of the mammoth Art of Modern Rock, poster expert Dennis King rounds up the hottest chicks of the genre, be they rock-and-roll vixens, indie beauties, alien seductresses, or punk rock babes. With classic art from the original volume plus loads of new materialall focused on the strong and sexy female icons of the poster worldrock fans, art and design aficionados, poster collectors, and new enthusiasts will be hard-pressed to resist these dangerous curves.

From the restrictive corsets of the late 1800s to the revealing thongs of the early 20th century, women's lingerie has changed drastically. This evolution mirrors changes in society regarding both the role of women and the ideals of beauty. Thanks to such items as the laced, corseted waist of turn-of-the-century coquettes, the uplifted busts of early-1990s supermodels, the sexy lingerie of a 1950s pin-up, and the see-through (or entirely absent) bras of the 1970s, women's underwear has provided the unseen superstructure on which modern canons of beauty have been based. A revealing text by Parisian-based fashion historian Farid Chenoune gives the context for the story of the most beautiful women of the century, while pictures of glamorous icons, as well as lesser-known Venuses, adorn the pages of this sumptuous book.

This publication traces the history of spectacles from the fifties to present, illustrated with numerous photographs, contemporary promotional pictures and fashion shots, stories, charts and concise text.The influence of the prevailing zeitgeist on spectacle design is of special importance; this becomes obvious in the many models of Italian, German, French, American and English designers and manufacturers. An intriguingly designed lifestyle book.