Tadashi Morita : 230x
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Long before the term recycling became fashionable, the Japanese were patching and stitching up their old pieces of cloth over and over again. These exceptional decorated patchworks are today much sought after by Japanese collectors and fashion designers. In this collection, Japanese vintage dealer, Tadashi Morita shows his assortment of printed textiles, jeans and capes.
Tadashi Morita : 230x
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Long before the term recycling became fashionable, the Japanese were patching and stitching up their old pieces of cloth over and over again. These exceptional decorated patchworks are today much sought after by Japanese collectors and fashion designers. In this collection, Japanese vintage dealer, Tadashi Morita shows his assortment of printed textiles, jeans and capes.
Création de mode
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The second in a four-part series charting the social, cultural, and political expression of clothing, dress, and accessories, Exchanging Clothes focuses on the concept of transnational “circulation and exchange.” These essays focus on not only the global exchange of material commodities across time and space but also of the ideas, images, colors, and textures related to fashion.
Exchanging clothes (habits of being 2)
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The second in a four-part series charting the social, cultural, and political expression of clothing, dress, and accessories, Exchanging Clothes focuses on the concept of transnational “circulation and exchange.” These essays focus on not only the global exchange of material commodities across time and space but also of the ideas, images, colors, and textures related to fashion.
Création de mode
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This publication features unpublished photographs and interviews with key figures from the movement, essays, flyers and ephemera.
Voguing and the house ballroom scene of New York city 1989-92
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This publication features unpublished photographs and interviews with key figures from the movement, essays, flyers and ephemera.
Création de mode
Spacesuit: fashioning apollo
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When Neil Armstrong and Buzz Aldrin stepped onto the lunar surface in July of 1969, they wore spacesuits made by Playtex: twenty-one layers of fabric, each with a distinct yet interrelated function, custom-sewn for them by seamstresses whose usual work was fashioning bras and girdles. This book is the story of those spacesuits. It is a story of the Playtex Corporation's(...)
Spacesuit: fashioning apollo
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When Neil Armstrong and Buzz Aldrin stepped onto the lunar surface in July of 1969, they wore spacesuits made by Playtex: twenty-one layers of fabric, each with a distinct yet interrelated function, custom-sewn for them by seamstresses whose usual work was fashioning bras and girdles. This book is the story of those spacesuits. It is a story of the Playtex Corporation's triumph over the military-industrial complex--a victory of elegant softness over engineered hardness, of adaptation over cybernetics.
Création de mode
livres
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The idea of fashion under socialism conjures up images of babushka headscarves and black market blue jeans. And yet, as Djurdja Bartlett shows in this groundbreaking book, the socialist East had an intimate relationship with fashion. Official antagonism—which cast fashion as frivolous and antirevolutionary—eventually gave way to grudging acceptance and creeping(...)
Fashion East : the spectre that haunted socialism
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The idea of fashion under socialism conjures up images of babushka headscarves and black market blue jeans. And yet, as Djurdja Bartlett shows in this groundbreaking book, the socialist East had an intimate relationship with fashion. Official antagonism—which cast fashion as frivolous and antirevolutionary—eventually gave way to grudging acceptance and creeping consumerism. Bartlett outlines three phases in socialist fashion, and illustrates them with abundant images from magazines of the period: postrevolutionary utopian dress, official state-sanctioned socialist fashion, and samizdat-style everyday fashion. Utopian dress, ranging from the geometric abstraction of the constructivists under Bolshevism in the Soviet Union to the no-frills desexualized uniform of a factory worker in Czechoslovakia, reflected the revolutionary urge for a clean break with the past. The highly centralized socialist fashion system, part of Stalinist industrialization, offered official prototypes of high fashion that were never available in stores—mythical images of smart and luxurious dresses that symbolized the economic progress that socialist regimes dreamed of. Everyday fashion, starting in the 1950s, was an unofficial, do-it-yourself enterprise: Western fashions obtained through semiclandestine channels or sewn at home. The state tolerated the demand for Western fashion, promising the burgeoning middle class consumer goods in exchange for political loyalty. Bartlett traces the progress of socialist fashion in the Soviet Union, Czechoslovakia, Hungary, East Germany, Poland, and Yugoslavia, drawing on state-sponsored socialist women’s magazines, etiquette books, socialist manuals on dress, private archives, and her own interviews with designers, fashion editors, and other key figures. Fashion, she suggests, with all its ephemerality and dynamism, was in perpetual conflict with the socialist regimes’ fear of change and need for control. It was, to echo the famous first sentence from the Communist Manifesto, the spectre that haunted socialism until the end.
livres
octobre 2010
Création de mode
Taller
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Afin de faire le point sur ses années de pratique en tant qu’architecte et designer, Maryla Sobek propose de considérer ensemble ces deux activités que sont l’architecture et le vêtement. La réflexion théorique à laquelle elle a consacré plusieurs années l’aura menée à un constat : la conception du vêtement occidental se trouve dans une impasse, et ce tant du point de vue(...)
Taller
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Afin de faire le point sur ses années de pratique en tant qu’architecte et designer, Maryla Sobek propose de considérer ensemble ces deux activités que sont l’architecture et le vêtement. La réflexion théorique à laquelle elle a consacré plusieurs années l’aura menée à un constat : la conception du vêtement occidental se trouve dans une impasse, et ce tant du point de vue de la structure que de la volumétrie. Quelles sont les solutions qui permettraient au vêtement de ne plus être tributaire des dimensions et de la structure du corps humain ? Sobek s’est lancé le défi de les explorer. Pour ce faire, elle se tourne vers l’architecture et opte pour un retour aux sources. Le choix d’une architecture non occidentale s’est imposé, plus particulièrement l’architecture dogon que l’on peut voir dans la falaise de Bandigara au Mali et qui est aujourd’hui considérée comme le parfait exemple de la rationalité en architecture vernaculaire.
Création de mode
Yves Saint-Laurent
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Sous la direction de Florence Müller et Farid Chenoune, on découvre un entretien inédit avec Pierre Bergé, une longue chronologie richement illustrée, le vestiaire des femmes modernes inventé par Yves Saint Laurent, des portraits de "femmes Saint Laurent" (Loulou de la Falaise, Lauren Bacall, Betty Catroux, Paloma Picasso...), des photographies de Richard Avedon, Jeanloup(...)
Yves Saint-Laurent
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Sous la direction de Florence Müller et Farid Chenoune, on découvre un entretien inédit avec Pierre Bergé, une longue chronologie richement illustrée, le vestiaire des femmes modernes inventé par Yves Saint Laurent, des portraits de "femmes Saint Laurent" (Loulou de la Falaise, Lauren Bacall, Betty Catroux, Paloma Picasso...), des photographies de Richard Avedon, Jeanloup Sieff, Helmut Newton, Pierre Boulat..., ainsi que le catalogue complet des modèles présentés.
Création de mode
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In order to justify the singular vision and approach of this celebrated Japanese fashion designer, the organisers of this retrospective at the MOCA, Detroit decided to create an all-compassing installation – with numerous individual pieces selected in order to reveal a complex and multifaceted whole. Presenting the fruits of a practice that spans more than 20 years, the(...)
Rei Kawakubo: ReFusing fashion
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In order to justify the singular vision and approach of this celebrated Japanese fashion designer, the organisers of this retrospective at the MOCA, Detroit decided to create an all-compassing installation – with numerous individual pieces selected in order to reveal a complex and multifaceted whole. Presenting the fruits of a practice that spans more than 20 years, the exhibition and delightfully conceived catalogue present clothes and accessories designed both for Commes des Garçons and under her own name, shop designs, posters, advertisements, collaborations with architects, photographers, Merce Cunningham, and with those that wear and style the clothes. The publication is interspersed throughout with various images from the exhibition, film-stills, photographs and texts from five different authors.
Création de mode
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Founded in 1951 by visionary textile designer Armi Ratia and her husband, Viljo, the Marimekko Corporation in Finland not only sparked a revolution in pattern making but also pioneered a new definition of fashion that embraced the entire home environment. This book presents more than one hundred examples of the exuberant Marimekko fashions and home furnishings that gave(...)
Marimekko : fabrics / fashion / architecture
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Founded in 1951 by visionary textile designer Armi Ratia and her husband, Viljo, the Marimekko Corporation in Finland not only sparked a revolution in pattern making but also pioneered a new definition of fashion that embraced the entire home environment. This book presents more than one hundred examples of the exuberant Marimekko fashions and home furnishings that gave the company a definitive presence on the world design stage. The book considers the history of the company from its founding through today and examines Marimekko’s impact on design in Finland and around the world. The company’s most important designers, including Maija Isola and Vuokko Eskolin-Nurmesniemi, their contributions, and their stylistic development are also discussed. In addition, the book examines Marimekko home and office interiors and how they reflected the lifestyle envisioned in Armi Ratia’s broad, radical definition of fashion.
Création de mode
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Au XIXe siècle, les châles en cachemire suscitèrent une folle passion, fort bien décrite - et parfois raillée - par Balzac. Ramenés de la campagne d'Egypte par les soldats de Bonaparte, ils donnèrent naissance à une vogue qui se répandit comme une traînée de poudre. Une nouvelle industrie se développa alors en Europe pour répondre à cet engouement croissant, et Napoléon(...)
Cachemires: la création française 1800-1880
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Au XIXe siècle, les châles en cachemire suscitèrent une folle passion, fort bien décrite - et parfois raillée - par Balzac. Ramenés de la campagne d'Egypte par les soldats de Bonaparte, ils donnèrent naissance à une vogue qui se répandit comme une traînée de poudre. Une nouvelle industrie se développa alors en Europe pour répondre à cet engouement croissant, et Napoléon poussa les fabricants français à rivaliser d'astuce pour imiter ces cachemires hors de prix. L'invention du métier à tisser Jacquard permis alors d'exécuter des décors étonnamment riches et complexes. La production française, entraîna même les artisans du Cachemire à imiter les modèles envoyés de Paris. Monique Lévi-Strauss, retrace, dans cet ouvrage très documenté, illustré et complété par de récentes découvertes, l'histoire de cette production, symbole du génie industriel, du raffinement et de la délicatesse du XIXe siècle. Exploitant documents d'archives, comptes rendus d'expositions et collections privées et publiques, l'auteur explore ce pan de l'histoire des arts et des techniques et fait.
Création de mode