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Edward Steichen was already a famous painter and photographer when, in 1923, he was offered one of the most prestigious and most lucrative positions in photography – that of chief photographer for Condé Nast’s Vogue and Vanity Fair.

Over the next fifteen years, Steichen produced an oeuvre of unequalled brilliance, dramatizing and glamorizing contemporary culture and its achievers – in politics, literature, journalism, dance, theatre, opera and, above all, the world of high fashion.

The 1920s and 1930s represent the high point in Edward Steichen’s photographic career, and the work he did for Condé Nast will stand forever among the most striking creations of 20th-century photography. The list of Steichen’s portraits is astounding in its range.

Steichen created a new style of fashion photography: his crisp, detailed, high-key style is a strong wind felt in the field to this day – George Hoyningen-Huene, Horst P. Horst, Richard Avedon, Robert Mapplethorpe and Bruce Weber are only his most illustrious descendants.

The Steichen archive at Condé Nast contains more than two thousand original vintage prints. A few of the images are well-known and indeed feature as iconic images in various histories of photography. Until now, however, no more than a handful of these prints has been exhibited or published.

Eero Saarinen was born in Finland in 1910. After his family moved to the United States in 1923 Eero graduated from Yale University where he subsequently completed post-graduate work at the Cranbrook Academy of Art. This famous school of architecture and design was directed by his father Eliel and, it was here that Eero met Charles Eames and Florence Schust Knoll. The three became close friends and worked together on some of the most remarkable projects in the history of American and international design.Throughout his career Saarinen divided his time between architecture and design. He designed some of the most important post-Second World War buildings in America (the General Motors Technical Center, the MIT chapel and auditorium, the TWA Terminal at J.F.K. Airport in New York), and his objects, most of which manufactured by Knoll, are absolute icons of contemporary design. He died prematurely at the age of 51 in Ann Arbor, Michigan.

Published in the same style as the successful Minimum Architects series, the Minimum Design series includes books about the major figures in the field of design, creators of objects that have become a part of our daily lives. The lamp on our desk, the chair we are sitting on or the glasses we are wearing have a genius behind them to be discovered. These volumes introduce in a practical manner the personalities and the works of the world's major designers by way of an historical-critical introduction to the work and life of each individual designer. An accurate selection of the designer's most famous objects arranged in chronological order and a critique of his or her work summarising the most significant reviews published in magazines and newspapers completes the subject.

Contents: Eero Saarinen by Giampiero Bosoni; Eero Saarinen's vocation for synthesis; Catalogue of Objects; The Objects; Saarinen's thinking; Critique; Selected References.

Eileen Gray is now celebrated as a pioneer of modern design and one of the most influential designers of the twentieth century, together with Le Corbusier, Charlotte Perriand, Marcel Breuer, Ludwig Mies van der Rohe, Alvar Aalto, Gerrit Rietveld and Charles Eames.

Her Bibendum chair and E.1027 table are today familiar icons around the world, while E.1027 and Tempe à Pailla – two houses that she built and furnished entirely with her own designs – are cited among the purest examples of Twenties and Thirties architecture.

Peter Adam, a long-time friend of Gray’s, has had privileged access to her surviving correspondence, drawings and journals as well as her architectural sketchbooks and photographic archives. From these sources he has built up a full-scale picture of her eventful life, from her aristocratic beginnings in Ireland, to the extravagant Art Deco period in Paris, and her productive years in the south of France.

Enriched by a wealth of previously unpublished material and an extensive plates section in full colour and duotone, this volume is a mine of rare and fascinating information which reveals above all the contemporary relevance of Eileen Gray’s work.

Join internationally renowned fashion illustrator Megan Hess as she explores the timeless beauty and glamour of ten of France's best-loved designers in a stylish celebration of one of the world’s favourite fashion destinations.

From the courts of Versailles to the cobbled streets of Paris, French fashion has always been the epitome of elegance. Whether it's Dior's New Look, Yves Saint Laurent's Le Smoking jacket or Chanel's little black dress, the masters of French fashion understand that clothing is more than a craft: it’s an art form.

Megan Hess’s love for French-style sparked her career in fashion illustration. In these pages, she unspools the threads of ten legendary designers – Chanel, Dior, Saint Laurent, Lanvin, Givenchy, Chloé, Balmain, Louis Vuitton, Hermès and Celine – to discover the origins of haute couture, prêt-à-porter and everything chic.

Accompanied by Megan’s exquisite illustrations of current and archival collections, Elegance: The Beauty of French Fashion tells the story of how France’s iconic fashion houses have influenced the very fabric of design. 

About the Author:

Megan Hess was destined to draw. An initial career in graphic design evolved into art direction for some of the world’s leading design agencies. In 2008, Hess illustrated the New York Times number-one-selling book Sex and the City, written by Candace Bushnell. She has since illustrated for Dior Couture, created iconic illustrations for Cartier and Louis Vuitton in Paris, dreamed up animations for Prada and Fendi in Milan, illustrated the windows of Bergdorf Goodman in New York, and created a capsule collection of bags for Harrods of London.

Hess’s signature style can also be found on her bespoke, limited-edition prints and homewares sold around the globe. Her renowned clients include Chanel, Dior, Fendi, Tiffany & Co., Saint Laurent, Vogue, Harper’s Bazaar, Harrods, Cartier, Balmain, Louis Vuitton and Prada.

Megan is the author of five bestselling fashion books and a picture book for children. She is the Global Artist in Residence for the Oetker Masterpiece Hotel Collection.

Louise Fili has been an inspiration for designers around the world since the 1980s, when she raised the bar on book cover design, creating close to two thousand jackets as art director for Pantheon Books. In 1989 Fili founded her own graphic design studio, Louise Fili Ltd, and branched out into the fields of restaurant and food packaging design. Her lavish and elegant typography, often hand-drawn, helps advertise and market such well-known brands as Sarabeth's, Bella Cucina, Jean-Georges, and Good Housekeeping, among many others. Known for her intense attention to detail, her fresh reinterpretation of vintage sources, and her passion for all things Italian, Fili has won numerous awards.

Elegantissima, the first monograph on her work, covers the breadth of her nearly forty-year design career. Featuring case studies showing sketches, references, inspiration, and design process, it's a must-have for graphic design students and professionals, as well as anyone interested in advertising, food, restaurants, Italy, and books.

Перед вами книга, которая представляет элементы китайских и японских декоративных орнаментов. Китайские и японские орнаментальные традиции приобрели популярность во всём мире.

One of the world's most renowned makeup artists, Yasmin Heinz works at the cutting edge of fashion

From photoshoots to runway shows and from music videos to advertising, Heinz's expertise is in demand by photographers, designers, and celebrities alike. This sumptuous volume of her most striking creations is divided into sections that echo the universe's four elements: earth, air, fire, and water.

Chosen from Heinz's vast archive, and featuring renowned illustrators and artists, the images in this book reveal her extraordinary skills-whether adding contour to a beautiful face, or completely transforming another. Weaving together the best of fashion, beauty, and photography, this irresistible volume shows that makeup can be an exciting form of art.

About the Authors:

Yasmin Heinz is one of the world’s most in-demand makeup artists. During her career she has worked with designers such as Chanel, Dior, Thierry Mugler, Jean-Paul Gaultier, and Sonia Rykiel; magazines like Elle, Harper’s BAZAAR, Vanity Fair, and Vogue; and with celebrities from all walks of life.

Jess Henley is a beauty writer, stylist, and director. She has spent the past 15 years reviewing, analyzing, and testing all things beauty to see what really is the best on the market as well as producing shoots with top photographers and makeup artists such as Yasmin Heinz.

The art of embroidery has been practised for thousands of years. In the West, traditions have been at the mercy of trade and fashion, but in other regions, embroidery continues to be rooted in ancient beliefs and superstitions.

This beautifully illustrated book examines in detail the fascinating symbolism of the motifs and patterns that give life to these traditional textiles from around the world.

The global range is as remarkable as the variety of materials and motifs on display. Each textile – whether Chinese court insignia, Japanese kimono, Sumatran sarong, Turkish napkin, Ghanaian banner, Native American pouch or Peruvian Nasca textile, among others – bears its own distinctive designs.

Complete with:

  -  glossary
  -  dictionary of stitches
  -  information on public collections
  -  how to collect textiles
  – this is an unrivalled guide for anyone interested in textiles, costume or craft.

Embroideries and Patterns from 19th Century Vienna is the first book devoted entirely to the petit-point of nineteenth-century Vienna. Raffaella Serena surveys samplers motifs and decorative patterns such as garlands, flowers, animals and landscapes. The most significant patterns of the Nowotny collections are integrated with other examples drawn from different sources in order to give a more rounded and complete historical and stylistic account of the period under consideration.

This book contains stunning images for use as a graphic resource, or inspiration. All the illustrations are stored in high-resolution format on the enclosed free CD-ROM and are ready to use for professional quality printed media and web page design. The pictures can also be used to produce postcards, or to decorate your letters, flyers, etc. They can be imported directly from the CD into most design, image- manipulation, illustration, word-processing and e-mail programs; no installation is required. For most applications, single images can be used free of charge. Please consult the introduction to this book, or visit our website for conditions.

Like weaving, embroidery consists of the use of strands of thread for the decoration of fabrics. But unlike in weaving, in which the fabric itself is created, in embroidery the decoration is applied to an already existing surface by use of a needle. The technique is therefore especially suited for the application of ornaments and borders. Embroidery contains a rich collection of such ornaments and borders, with imagery from the natural world, such as animals, leaves and flowers, but also religious and heraldic symbols and some complete embroidered alphabets.

In the middle of the 1990s Italian fashion rediscovered decoration, a taste for embellishment and the pleasure of ornament. Both the grandmasters of the made in Italy tradition and the new designers turned, more and more, to embroidery as the fundamental inspiration for their clothes. New embroidery covers all the trends of the last ten years of Italian fashion, from ethno-folk to conceptual, from eclecticism to deconstructivism, from romantic to gothic. This book illustrates, through a rich collection of photographs and the words of Italian fashion designers, the true history of new embroidery and the inspiration behind the embroidery of their collections.

Embroidery is a door open on a wondrous, opulent dimension where light plays with the richness of the threads. The modern violence of gesture transforms the substance of the material, like the burnt Swarovskis that are a hallmark of Riccardo Tisci. The ancient virtuosity of the lace-pillow is charged ‘s if, says Antonio Berardi, ‘it came directly from the diary of my life and memory’. Precious and sophisticated, embroidery is a timeless art that time renders increasingly rare due to the absolute dedication it requires – mental even more than physical – concentrated on the minuscule and the perfect, and to the infinite patience it demands, virtues that are so far from contemporary, so eccentric in a society that wants everything and wants it at once (Giusy Ferrè).

artworks by: Alessandro De Benedetti, Alessandro Dell’Acqua, Amen, Anna Molinari, Antonio Berardi, Antonio Marras, Bluemarine, Dolce & Gabbana, Emilio Pucci, Etro, Gianfranco Ferrè, Haute, Kenzo, Marni, Maurizio Pecoraro, Riccardo Tisci, Roberto Cavalli, Valentino, Versace.

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The absolute dedication required by embroidery's sophisticated, precious handiwork has rendered it increasingly rare: as a craft, it calls for mental discipline even more than physical, and for infinite patience, virtues so far from contemporary, so eccentric in a society that wants everything delivered at once, that of course embroidery has come into the spotlight again. Embroidery: Italian Fashion follows the technique's recent rise in a national culture known for its opulence and emotion, and brings readers the experience of both with a soft, embroidered cover. Inside, the details of micro-paillettes, mirrors, bugle beads, ribbons and implausibly thin threads produce virtuosities, coups de theÇtre, surprising elegances.

Embroidery is a door on a wondrous, opulent dimension where light plays with the richness of threads, and Embroidery shows its meaning transformed by the violence of modern lines and gestures, like the burnt Swarovski crystals that are Riccardo Tisci's hallmark. When Antonio Marras presented a skirt at his first Milan show in which the embroidery seemed to allude to beginner's work, to the gauze on which little girls once learned to sew, he asked his embroiderers to imitate this style, calling it "wrongstitch." And those extraordinary craftswomen, accustomed to perfection, learned just what feeling, what fascination can be concealed in an apparent mistake.

The embroiderers and their colleagues remain the silent but ever-present heroines of this revival, their handiwork recalling the human touch at every glance. Includes work from Anna Molinari, Blumarine, Dolce & Gabbana, Emilio Pucci, Gianfranco Ferre, Marni, Roberto Cavalli, Valentino and Versace.

Emilio Cavallini is a high-quality Italian brand, offering a touch of class to the hosiery industry. The Emilio Cavallini style is unmistakable for its creativity: geometric cuts, optical motifs, strong colours.

Since 1980, when the Emilio Cavallini brand was registered, the designer has been strongly expressing his determined style: unconventional, eccentric, ever-changing. Currently, Emilio Cavallini is working on a building and archive with the patterns and techniques he developed in 40 years of design. He also nourishes his passion for current and ancient art. This passion leads him to build art pieces of various forms and dimensions using tights as if they were strings. This book is dedicated to this passion for art and his creativity as a fashion designer.

• This elegant book traces a sweeping journey through the fascinating career of Emilio Cavallini from his first fashion drawings to the current art pieces.

• Emilio Cavallini hosiery – created with the latest technologies and yarns – is considered to be one of the higher-end brand labels of hosiery in the world. The line is sold in major department stores throughout the world.

The prince of prints. Pucci's vision and legacy

Emilio Pucci (1914-1992) had a passion for women, a visionary sense of style, and an eye for color and design. With these talents, he created a fashion house unlike any other. By the early ’50s his boutique on the Isle of Capri was catering to wealthy sophisticates, heiresses and movie stars buying his "Capri pants", silk scarves and lightweight separates. By the end of the decade, Jacqueline Kennedy and Marilyn Monroe were wearing his dresses, and by the mid-60s the label was synonymous with the gilded lifestyle of an international jetset. Today, the house remains as vibrant as ever – Victoria Beckham, Elizabeth Hurley, and Kylie Minogue are adherents.

The Pucci story is a modern epic with its roots in renaissance Italy: the brand’s founder, the Marchese Emilio Pucci di Barsento, was a charismatic aristocrat whose lineage extends back to the 14th century. It is a story of evolution: how a family company grew from one tiny store to an international brand with 50 boutiques worldwide (and a presence in 300 more). And finally, it is a tale of innovation: Pucci was one of the first brands to bear a logo, and a pioneer of diversification into interiors, athletic wear and accessories. It introduced free-moving, lightweight fabrics, pop art prints, and a new color palette into womenswear, and constantly pushed fabric and printing technologies.

Featuring hundreds of photographs, drawings, and candid shots from the archive of the Emilio Pucci Foundation, this tome captures the breathtaking elegance and drama of a unique brand. Vanessa Friedman’s text places Emilio’s achievements in the context of fashion history and provides insight into the remarkable Pucci dynasty.

The author:

Vanessa Friedman is fashion editor of the Financial Times, where she writes a weekly style column and the blog Material World. Previously, she was the features director of UK In Style and contributed regularly to The Economist, The New Yorker, Vogue, and Entertainment Weekly. She is the winner of the Newswomen's Club of New York Front Page award for specialty writing and is on the advisory council of Princeton University's History Department.

The prince of prints

Pucci's vision and legacy

Limited edition of 10.000 copies; each unique copy is bound with one of a selection of recent print fabrics from the Pucci collection.

Emilio Pucci (1914-1992) had a passion for women, a visionary sense of style, and an eye for color and design. With these talents he created a fashion house unlike any other. By the early '50s his boutique on the isle of Capri was catering to wealthy sophisticates, heiresses and movie stars buying his "Capri pants", silk scarves and lightweight separates. By the end of the decade, Jacqueline Kennedy and Marilyn Monroe were wearing his dresses, and by the mid-60s the label was synonymous with the gilded lifestyle of an international jetset. Today, the house remains as vibrant as ever–Victoria Beckham, Elizabeth Hurley, and Kylie Minogue are adherents–and recently celebrated its 60th anniversary.

The Pucci story is a modern epic with its roots in renaissance Italy: the brand’s founder, the Marchese Emilio Pucci di Barsento, was a charismatic aristocrat whose lineage extends back to the 14th century. It is a story of evolution: how a family company grew from one tiny store to an international brand with 50 boutiques worldwide (and a presence in 300 more). And finally, it is a tale of innovation: Pucci was one of the first brands to bear a logo, and a pioneer of diversification into interiors, athletic wear and accessories. It introduced free-moving, lightweight fabrics, pop art prints, and a new color palette into womenswear, and constantly pushed fabric and printing technologies.

Featuring hundreds of photographs, drawings, and candid shots from the archive of the Emilio Pucci Foundation, this XL tome captures the breathtaking elegance and drama of a unique brand. Vanessa Friedman's text places Emilio's achievements in the context of fashion history, and provides insight into the remarkable Pucci dynasty.

Author:
Vanessa Friedman is fashion editor of the Financial Times, where she writes a weekly style column and edits the Business of Fashion supplements. Previously, she was the features director of UK In Style, and contributed regularly to The Economist, The New Yorker, Vogue, and Entertainment Weekly.

Contributing author:
Alessandra Arezzi Boza is a Costume and Fashion historian, has worked as a consultant for the Costume Gallery at Palazzo Pitti in Florence and in several projects for fashion houses and their archives. Since 2001 she is the curator of the Emilio Pucci Foundation.

Editor:
Armando Chitolina worked as a design consultant and art director at Vogue Italia and L'Uomo Vogue, and image consultant for fashion houses Moschino and Mila Schön. His TASCHEN titles include William Claxton's Jazz Seen, Gian Paolo Barbieri's Equator, The Book of Tiki, Naked as a Jaybird and Valentino: A Grand Italian Epic.