Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Publisher's Description
With the eye of a painter Guy Bourdin created images containing fascinating stories, compositions and colours. Using fashion photography as his medium, Bourdin explored the provocative and the sublime with a relentless perfectionism and sharp humour. Famed for his suggestive narratives and surreal aesthetics, Bourdin radically broke conventions of commercial photography and in the process captured the imagination of a generation. The late 1970s, recognised as the high note of his career, is the focal point of this new edition, which combines in one book the two volumes of the original 2006 publication. The first part of A Message for You shows the legendary, nearly forgotten images and rarely seen variants of a single model, Nicolle Meyer. She appeared in over thirty of Bourdin’s famous campaigns for Charles Jourdan and in iconic French Vogue editorials. The second part of the book explores Bourdin’s pictorial landscape, a collage of images that maps his artistic vision. The texts, Polaroids, poems, sketches and contact sheets unfold through Nicolle Meyer’s memories and capture moments of Bourdin’s work in progress.
Publisher: Steidl
Size: 245 x 300 mm
320 pages, 250 colour plates
The late 1970s, recognised as the high note of Bourdin's career, is the focal point of this new edition, which combines in one book the two volumes of the original 2006 publication. The first part shows the legendary, nearly forgotten images and rarely seen variants of a single model, Nicolle Meyer.
The Summer 2013 issue comes with a book by Ryan McGinley, whose large-scale colour photographs of his young New York friends have put his work in great demand. View every page of Purple Magazine 19 (including the Ryan McGinley Purple Book)
The Summer 2013 issue comes with a book by Ryan McGinley, whose large-scale colour photographs of his young New York friends have put his work in great demand. View every page of Purple Magazine 19 (including the Ryan McGinley Purple Book)
Publisher's Description
American photographer David LaChapelle (1963) is one of the world’s most important photographers since the mid-nineties. His work has influenced dozens of other artists and LaChapelle has gradually developed his own distinctive and recognizable style. He is not only concerned with the closed society of galleries and museums but through his work he enters into the wider public space; he also communicates his vision to those who are not interested in art, who do not seek it out, but on the other hand, however unconsciously, feel the need to perceive the surrounding world through a different artistic point of view. The monograph Thus Spoke / Tak pravil LaChapelle is important in the context of his previous publications. It is the first retrospective of the artist’s work which includes photographs from the mid-1980s up to the present. The early photographs have never appeared before. In addition, Thus Spoke LaChapelle also presents a number of previously unreproduced works from other periods of LaChapelle’s work. In this sense, the book is far more than a regional production and presents the current culmination of LaChapelle’s artistic activity. This is how the book is also viewed by the artist himself and his collaborators. Thus the book has the potential to become an event that raises international awareness and sets the standard for future monographs for the artist.
The book is produced in a bilingual Czech and English edition.
Publisher: Arbor Vitae
Size: 250 x 325 mm
284 pages, 257 illustrations
Publisher's Price: £73.00
The monograph Thus Spoke / Tak pravil LaChapelle is important in the context of his previous publications. It is the first retrospective of the artist’s work which includes photographs from the mid-1980s up to the present.
Publisher's Description
One of the world’s leading fashion magazines, W will celebrate its 40th anniversary with this volume—a collection of the most influential and iconic features and photos culled from its first four decades. W is renowned for its groundbreaking, provocative, often controversial fashion stories by such photographers as Steven Klein, Mert Alas and Marcus Piggott, Bruce Weber, Mario Sorrenti, Tim Walker, Juergen Teller, and Paolo Roversi, among many others, the best of which fill these pages. Divided into three sections—Who, Where, and Wow—this volume shows why W’s unique blend of unparalleled access, cultural smarts, and visual panache has always kept it at the forefront of not only the world of fashion, but also in art, design, style, beauty, celebrity, and society. Appearing in these pages are many of the world’s most talented, beautiful, and accomplished from a vast array of fields, including Angelina Jolie and Brad Pitt, Madonna, Damien Hirst, Alexander McQueen, Daphne Guinness, Beyoncé, Karl Lagerfeld, Kate Moss, the Beckhams, Tilda Swinton, and Jackie Kennedy. In addition to a foreword by the book’s editor, Stefano Tonchi, W: The First 40 Years also includes newly commissioned essays from writers Lynn Hirschberg, Marian McEvoy, and Vince Aletti. Longtime W contributor Christopher Bagley has edited the text and written revealing captions that draw upon the magazine’s most memorable interviews and reporting.
Publisher: Abrams Books
Size: 10x 13"
340 pages, 400 illustrations
One of the world’s leading fashion magazines, W will celebrate its 40th anniversary with this volume—a collection of the most influential and iconic features and photos culled from its first four decades.
In a 2003 conversation with Ingrid Sischy, French designer Hedi Slimane described his beginnings as a photographer: 'I started taking pictures before I even began in fashion. I didn't start with clothes until I was 16, but I had my first camera when I was 11. I've always taken pictures, almost like some people take notes or write down their thoughts.'
Slimane's photographs traverse the music and art scenes, street fashion and haute couture, and are as fresh as his groundbreaking work in fashion.
This volume collects his American photographs, taken in New York and Los Angeles between 2007 and 2011. Portraits of Gore Vidal, Kenneth Anger, Ed Ruscha, Courtney Love, Johnny Rotten, Brice Marden, skateboarders, and various male and female models are included alongside street scenes and still lifes.
In a 2003 conversation with Ingrid Sischy, French designer Hedi Slimane described his beginnings as a photographer: 'I started taking pictures before I even began in fashion. I didn't start with clothes until I was 16, but I had my first camera when I was 11. I've always taken pictures, almost like some people take notes or write down their thoughts.'
Slimane's photographs traverse the music and art scenes, street fashion and haute couture, and are as fresh as his groundbreaking work in fashion.
This volume collects his American photographs, taken in New York and Los Angeles between 2007 and 2011. Portraits of Gore Vidal, Kenneth Anger, Ed Ruscha, Courtney Love, Johnny Rotten, Brice Marden, skateboarders, and various male and female models are included alongside street scenes and still lifes.
Hedi Slimane began taking photographs long before he started making clothes, as Antholgoy of a Decade reveals: ‘I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, ‘almost like some people take notes or write down their thoughts.’
This volume collects black-and-white photographs taken in the UK between 2005 and 2010. It was during these years that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.
This book includes photographs of fans at gigs, images from Slimane's 'British Youth' series, portraits of James Jagger, Pete Doherty, Amy Winehouse, Kate Moss, Miles Kane, Arctic Monkeys, Test Icicles, The Paddingtons, The Libertines, These New Puritans, The Kills, Keith Richard's guitar collection, and the gravestone of William Blake.
Hedi Slimane began taking photographs long before he started making clothes, as Antholgoy of a Decade reveals: ‘I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, ‘almost like some people take notes or write down their thoughts.’
This volume collects black-and-white photographs taken in the UK between 2005 and 2010. It was during these years that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.
This book includes photographs of fans at gigs, images from Slimane's 'British Youth' series, portraits of James Jagger, Pete Doherty, Amy Winehouse, Kate Moss, Miles Kane, Arctic Monkeys, Test Icicles, The Paddingtons, The Libertines, These New Puritans, The Kills, Keith Richard's guitar collection, and the gravestone of William Blake.
Hedi Slimane began taking photographs long before he started making clothes, as Anthology of a Decade reveals: 'I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, 'almost like some people take notes or write down their thoughts.'
This volume brings together black-and-white photographs taken in France between 2000 and 2009. It was during this decade that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.
Hedi Slimane began taking photographs long before he started making clothes, as Anthology of a Decade reveals: 'I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, 'almost like some people take notes or write down their thoughts.'
This volume brings together black-and-white photographs taken in France between 2000 and 2009. It was during this decade that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.
French fashion designer Hedi Slimane began taking photographs long before he started making clothes, as his recent Anthology of a Decade revealed: 'I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, 'almost like some people take notes or write down their thoughts.'
This volume presents a collection of Slimane's black-and-white photographs taken in Moscow and Berlin: portraits of young men at military academies, on manoeuvres, exercising or resting, collectively or alone, as well as still lifes and snow scenes taken in both cities. This publication is revelatory both as a hitherto little-known instance of Slimane's many talents, and as an elucidation of his work in fashion.
French fashion designer Hedi Slimane began taking photographs long before he started making clothes, as his recent Anthology of a Decade revealed: 'I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, 'almost like some people take notes or write down their thoughts.'
This volume presents a collection of Slimane's black-and-white photographs taken in Moscow and Berlin: portraits of young men at military academies, on manoeuvres, exercising or resting, collectively or alone, as well as still lifes and snow scenes taken in both cities. This publication is revelatory both as a hitherto little-known instance of Slimane's many talents, and as an elucidation of his work in fashion.
Cecil Beaton was a man of dazzling charm and style and his talents were many. He loved Vogue, and his contributions testify to the wit, imagination and professionalism that the man and the magazine always had in common. Beaton in Vogue selects articles, drawings and photographs by Beaton dating from the 1920s to the 1970s.
In his twenties Beaton recorded London and New York society in needle-sharp words and drawings. Condé Nast, the owner of Vogue, compelled him to abandon his pocket Kodak, and his resulting photographic work earned him a place among the great chroniclers of fashion.
Witty and inventive, he designed settings for plays and films – and for himself – and as a writer he was an eloquent champion of stylish living. His accounts of travel made the most luscious places seem tantalizingly vivid and close.
The turning point in his career was the challenge of working as an official photographer in the Second World War. He travelled the world, no longer in luxury but in uniform, and the photographs, drawings and writings that revealed the face of war, from bombed London to China and the North African Desert, testified to a new maturity of vision.
Cecil Beaton remained triumphantly active to the end of his long life. He became a superb portrait photographer, of royal and other famous faces and forms, and designed the costumes for My Fair Lady (both on stage and on film) and for Gigi. Almost incredibly, when a stroke paralysed his right hand he turned himself into a left-handed draughtsman; and he carried out two marathon photo assignments for French Vogue only a few months before he died.
Publisher: Thames & Hudson
Size: 284 x 240 mm
240 pages, 293 Illustrations, 32 in colour
Publisher's Description
Cecil Beaton was a man of dazzling charm and style and his talents were many. He loved Vogue, and his contributions testify to the wit, imagination and professionalism that the man and the magazine always had in common. Beaton in Vogue selects articles, drawings and photographs by Beaton dating from the 1920s to the 1970s.
In his twenties Beaton recorded London and New York society in needle-sharp words and drawings. Condé Nast, the owner of Vogue, compelled him to abandon his pocket Kodak, and his resulting photographic work earned him a place among the great chroniclers of fashion.
Witty and inventive, he designed settings for plays and films – and for himself – and as a writer he was an eloquent champion of stylish living. His accounts of travel made the most luscious places seem tantalizingly vivid and close.
The turning point in his career was the challenge of working as an official photographer in the Second World War. He travelled the world, no longer in luxury but in uniform, and the photographs, drawings and writings that revealed the face of war, from bombed London to China and the North African Desert, testified to a new maturity of vision.
Cecil Beaton remained triumphantly active to the end of his long life. He became a superb portrait photographer, of royal and other famous faces and forms, and designed the costumes for My Fair Lady (both on stage and on film) and for Gigi. Almost incredibly, when a stroke paralysed his right hand he turned himself into a left-handed draughtsman; and he carried out two marathon photo assignments for French Vogue only a few months before he died.
Publisher: Thames & Hudson
Size: 284 x 240 mm
240 pages, 293 Illustrations, 32 in colour
Herb Ritts: L.A. Style traces the life and career of the iconic photographer through a compelling selection of renowned, as well as previously unpublished, photographs and two insightful essays. Herb Ritts (1952 –2002) was a Los Angeles-based photographer who established an international reputation for distinctive images of fashion models, nudes, and celebrity portraits. During the 1980s and 1990s, Ritts was sought out by leading fashion designers such as Armani, Gianfranco Ferrè, Donna Karan, Calvin Klein, Valentino, and Versace, as well as magazine editors from GQ, Interview, Rolling Stone, and Vanity Fair, among others, to lend glamour to their products and layouts. Largely self-taught, Ritts developed his own style, one that often made use of the California light and landscape and helped to separate his work from his New York based peers. From the late 1970s until his untimely death from AIDS in 2002, Ritts’s ability to create photographs that successfully bridged the gap between art and commerce was not only a testament to the power of his imagination and technical skill, but also marked the synergistic union between art, popular culture, and business that followed in the wake of the Pop Art movement of the 1960s and 1970s.
Publisher: J. Paul Getty Museum
Size: 9 1/2 x 12"
224 pages, 30 colour and 135 tritone illustrations
Publisher's Description
Herb Ritts: L.A. Style traces the life and career of the iconic photographer through a compelling selection of renowned, as well as previously unpublished, photographs and two insightful essays. Herb Ritts (1952 –2002) was a Los Angeles-based photographer who established an international reputation for distinctive images of fashion models, nudes, and celebrity portraits. During the 1980s and 1990s, Ritts was sought out by leading fashion designers such as Armani, Gianfranco Ferrè, Donna Karan, Calvin Klein, Valentino, and Versace, as well as magazine editors from GQ, Interview, Rolling Stone, and Vanity Fair, among others, to lend glamour to their products and layouts. Largely self-taught, Ritts developed his own style, one that often made use of the California light and landscape and helped to separate his work from his New York based peers. From the late 1970s until his untimely death from AIDS in 2002, Ritts’s ability to create photographs that successfully bridged the gap between art and commerce was not only a testament to the power of his imagination and technical skill, but also marked the synergistic union between art, popular culture, and business that followed in the wake of the Pop Art movement of the 1960s and 1970s.
Publisher: J. Paul Getty Museum
Size: 9 1/2 x 12"
224 pages, 30 colour and 135 tritone illustrations
From internationally acclaimed photographer Deborah Turbeville comes the first book on her highly influential visionary avant-garde fashion photography. Celebrated for her poetic grace and cinematic vision, Deborah Turbeville has produced fashion tableaux that draw the viewer into her otherworldly environments. A romantic and modernist, Turbeville bridges the boundaries between commercial fashion and fine arts photography. In this remarkable presentation, Turbeville reveals her highly individualistic point of view of fashion photography and the stories behind her photographs.
This first retrospective presentation of Turbeville's fashion photography was selected by the artist herself. In addition, she has designed the evocative layouts to create yet another masterwork. The presentation includes Turbeville's most famous photographs, among them the controversial Bathhouse series of 1975 for American Vogue with disturbingly isolated figures and her Woman in the Woods series of 1977 for Italian Vogue showing psychologically charged emotions, along with her numerous photography campaigns for labels like Sonia Rykiel, Valentino, Yamamonto, Ungaro, and Commes des Garçons, as well as commissions for Chanel and work that has never been seen before. Her most current project for Casa Vogue--Italian nobility dressed in special couture outfits--evokes Turbeville's vision of everlasting beauty.
Hall-Duncan's essay places Deborah Turbeville's non-conventional work in the context of the history of fashion photography. She discusses the important role that this artist has played in shaping contemporary fashion and fine arts photography. She also presents the broad range of disciplines of art, literature, and architecture from the past that has inspired this important artist--from the great silent-films by Eisenstein, Vertov, and Murnau and the later cinematic work of Cocteau, Visconti, Fassbinder, and Bertulucci to Diaghelev's ballet set drawings, Russian literature, and the faded palaces of Europe.
Publisher: Rizzoli
Size: 8 3/4 x 11 1/2"
304 pages
Publisher's Description
From internationally acclaimed photographer Deborah Turbeville comes the first book on her highly influential visionary avant-garde fashion photography. Celebrated for her poetic grace and cinematic vision, Deborah Turbeville has produced fashion tableaux that draw the viewer into her otherworldly environments. A romantic and modernist, Turbeville bridges the boundaries between commercial fashion and fine arts photography. In this remarkable presentation, Turbeville reveals her highly individualistic point of view of fashion photography and the stories behind her photographs.
This first retrospective presentation of Turbeville's fashion photography was selected by the artist herself. In addition, she has designed the evocative layouts to create yet another masterwork. The presentation includes Turbeville's most famous photographs, among them the controversial Bathhouse series of 1975 for American Vogue with disturbingly isolated figures and her Woman in the Woods series of 1977 for Italian Vogue showing psychologically charged emotions, along with her numerous photography campaigns for labels like Sonia Rykiel, Valentino, Yamamonto, Ungaro, and Commes des Garçons, as well as commissions for Chanel and work that has never been seen before. Her most current project for Casa Vogue--Italian nobility dressed in special couture outfits--evokes Turbeville's vision of everlasting beauty.
Hall-Duncan's essay places Deborah Turbeville's non-conventional work in the context of the history of fashion photography. She discusses the important role that this artist has played in shaping contemporary fashion and fine arts photography. She also presents the broad range of disciplines of art, literature, and architecture from the past that has inspired this important artist--from the great silent-films by Eisenstein, Vertov, and Murnau and the later cinematic work of Cocteau, Visconti, Fassbinder, and Bertulucci to Diaghelev's ballet set drawings, Russian literature, and the faded palaces of Europe.
Publisher: Rizzoli
Size: 8 3/4 x 11 1/2"
304 pages
Corinne Day's photographs influenced a generation of fashion and documentary image makers. Her pictures unflinchingly documented her life and relationships with a realist snapshot aesthetic-representing a youth culture set against the glamour of fashion and avoiding fictionalisation or voyeurism.
Gaining notoriety both for a scandalous photo of Kate Moss in Vogue in 1993 and for pioneering so-called 'grunge' fashion photography, for a time she was exiled from the mainstream fashion media.
Corinne later returned to the fashion and art world with works exhibited and collected in galleries and museums worldwide.
Corinne Day died in August 2010, and in her first book since, we celebrate this icon of photography with a series of previously un-published early works.
You can view images from this book on the Morel website .
Publisher: Morel
Size: 215 x 280 mm
100 pages
Publisher's Description
Corinne Day's photographs influenced a generation of fashion and documentary image makers. Her pictures unflinchingly documented her life and relationships with a realist snapshot aesthetic-representing a youth culture set against the glamour of fashion and avoiding fictionalisation or voyeurism.
Gaining notoriety both for a scandalous photo of Kate Moss in Vogue in 1993 and for pioneering so-called 'grunge' fashion photography, for a time she was exiled from the mainstream fashion media.
Corinne later returned to the fashion and art world with works exhibited and collected in galleries and museums worldwide.
Corinne Day died in August 2010, and in her first book since, we celebrate this icon of photography with a series of previously un-published early works.
You can view images from this book on the Morel website .
Publisher: Morel
Size: 215 x 280 mm
100 pages
A “serial novel” of fashion shootings set against the landing of beings from outer space. Originally assembled for a large-scale exhibition in Beijing, the extraterrestrial theme is enhanced by elements of 1950s Hollywood glamour, German Expressionist cinema, and futuristic sci-fi movies.
You can view images from this book on the Peter Lindbergh's website.
Publisher: Schirmer/Mosel
Size: 240 x 320 mm
200 pages, 89 colour and duotone plates
Publisher's Description
A “serial novel” of fashion shootings set against the landing of beings from outer space. Originally assembled for a large-scale exhibition in Beijing, the extraterrestrial theme is enhanced by elements of 1950s Hollywood glamour, German Expressionist cinema, and futuristic sci-fi movies.
You can view images from this book on the Peter Lindbergh's website.
Publisher: Schirmer/Mosel
Size: 240 x 320 mm
200 pages, 89 colour and duotone plates
Special edition, limited to 250 numbered copies, containing a limited edition silver gelatin print, stamped by the Duffy archive.
Brian Duffy is best known as one of the great British fashion photographers of the 1960s and 70s, and one of the greatest innovators of documentary fashion photography. This book has been published with the full cooperation of the Duffy archive
'Duffy and aggravation go together like gin and tonic' David Bailey
Brian Duffy defined the image of the 1960s, and was as famous as the stars he photographed. Together with David Bailey and Terence Donovan, he is recognised as one of the innovators of 'documentary' fashion photography, a style which revolutionised fashion imagery and furthermore the fashion industry.
Together they formed a new cult of the fashion photographer putting themselves centre stage with the models and celebrities they captured on film and leading directly to a photographer cult that manifested itself in the famous film Blow Up. Swinging London had arrived and Duffy was in the thick of it. The press nicknamed the three photographers 'The Terrible Three' and as Duffy put it 'Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!' Norman Parkinson added to their notoriety by naming them 'The Black Trinity.'
Duffy's first commission came from Ernestine Carter, the then fashion editor of The Sunday Times. From there he was hired by British Vogue in 1957 where he remained working until 1963 photographing famous models such as Pauline Stone and Jean Shrimpton. In the 1960s Duffy worked for many of the major fashion magazine and papers, not only British but also serving long periods with French Elle magazine. His list of subjects was a role call of the celebrities of that time: Sidney Poitier, Michael Caine, Tom Courtney, Sammy Davis JNR, Nina Simone, John Lennon, Paul McCartney, Charlton Heston and William Burroughs.
Duffy's most famous photograph dates from the 1970s and is the iconic cover of David Bowie's album Aladdin Sane. He was also critically acclaimed for advertising campaigns for Benson & Hedges and Smirnoff.
Notoriously, in 1979 Duffy decided to give up photography, burning many of his negatives in a symbolic fire in his back yard. Many negatives were lost but in 2009, at the behest of his son, Chris, Duffy took up the camera again for a BBC documentary. Recently many negatives have been discovered and salvaged. The story of his early career and comeback was showcased in the aforementioned BBC documentary shown 8 times in 2010 and titled The Man Who Shot the 60s.
Duffy died on 31 May 2010.
Publisher: ACC
Size: 9.5 x 12'
208 pages, 48 colour & 160 b&w illustrations
Publisher's Description
Special edition, limited to 250 numbered copies, containing a limited edition silver gelatin print, stamped by the Duffy archive.
Brian Duffy is best known as one of the great British fashion photographers of the 1960s and 70s, and one of the greatest innovators of documentary fashion photography. This book has been published with the full cooperation of the Duffy archive
'Duffy and aggravation go together like gin and tonic' David Bailey
Brian Duffy defined the image of the 1960s, and was as famous as the stars he photographed. Together with David Bailey and Terence Donovan, he is recognised as one of the innovators of 'documentary' fashion photography, a style which revolutionised fashion imagery and furthermore the fashion industry.
Together they formed a new cult of the fashion photographer putting themselves centre stage with the models and celebrities they captured on film and leading directly to a photographer cult that manifested itself in the famous film Blow Up. Swinging London had arrived and Duffy was in the thick of it. The press nicknamed the three photographers 'The Terrible Three' and as Duffy put it 'Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!' Norman Parkinson added to their notoriety by naming them 'The Black Trinity.'
Duffy's first commission came from Ernestine Carter, the then fashion editor of The Sunday Times. From there he was hired by British Vogue in 1957 where he remained working until 1963 photographing famous models such as Pauline Stone and Jean Shrimpton. In the 1960s Duffy worked for many of the major fashion magazine and papers, not only British but also serving long periods with French Elle magazine. His list of subjects was a role call of the celebrities of that time: Sidney Poitier, Michael Caine, Tom Courtney, Sammy Davis JNR, Nina Simone, John Lennon, Paul McCartney, Charlton Heston and William Burroughs.
Duffy's most famous photograph dates from the 1970s and is the iconic cover of David Bowie's album Aladdin Sane. He was also critically acclaimed for advertising campaigns for Benson & Hedges and Smirnoff.
Notoriously, in 1979 Duffy decided to give up photography, burning many of his negatives in a symbolic fire in his back yard. Many negatives were lost but in 2009, at the behest of his son, Chris, Duffy took up the camera again for a BBC documentary. Recently many negatives have been discovered and salvaged. The story of his early career and comeback was showcased in the aforementioned BBC documentary shown 8 times in 2010 and titled The Man Who Shot the 60s.
Duffy died on 31 May 2010.
Publisher: ACC
Size: 9.5 x 12'
208 pages, 48 colour & 160 b&w illustrations
Brian Duffy is best known as one of the great British fashion photographers of the 1960s and 70s, and one of the greatest innovators of documentary fashion photography. This book has been published with the full cooperation of the Duffy archive
'Duffy and aggravation go together like gin and tonic' David Bailey
Brian Duffy defined the image of the 1960s, and was as famous as the stars he photographed. Together with David Bailey and Terence Donovan, he is recognised as one of the innovators of 'documentary' fashion photography, a style which revolutionised fashion imagery and furthermore the fashion industry.
Together they formed a new cult of the fashion photographer putting themselves centre stage with the models and celebrities they captured on film and leading directly to a photographer cult that manifested itself in the famous film Blow Up. Swinging London had arrived and Duffy was in the thick of it. The press nicknamed the three photographers 'The Terrible Three' and as Duffy put it 'Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!' Norman Parkinson added to their notoriety by naming them 'The Black Trinity.'
Duffy's first commission came from Ernestine Carter, the then fashion editor of The Sunday Times. From there he was hired by British Vogue in 1957 where he remained working until 1963 photographing famous models such as Pauline Stone and Jean Shrimpton. In the 1960s Duffy worked for many of the major fashion magazine and papers, not only British but also serving long periods with French Elle magazine. His list of subjects was a role call of the celebrities of that time: Sidney Poitier, Michael Caine, Tom Courtney, Sammy Davis JNR, Nina Simone, John Lennon, Paul McCartney, Charlton Heston and William Burroughs.
Duffy's most famous photograph dates from the 1970s and is the iconic cover of David Bowie's album Aladdin Sane. He was also critically acclaimed for advertising campaigns for Benson & Hedges and Smirnoff.
Notoriously, in 1979 Duffy decided to give up photography, burning many of his negatives in a symbolic fire in his back yard. Many negatives were lost but in 2009, at the behest of his son, Chris, Duffy took up the camera again for a BBC documentary. Recently many negatives have been discovered and salvaged. The story of his early career and comeback was showcased in the aforementioned BBC documentary shown 8 times in 2010 and titled The Man Who Shot the 60s.
Duffy died on 31 May 2010.
Publisher: ACC
Size: 9.5 x 12'
208 pages, 48 colour & 160 b&w illustrations
Publisher's Description
Brian Duffy is best known as one of the great British fashion photographers of the 1960s and 70s, and one of the greatest innovators of documentary fashion photography. This book has been published with the full cooperation of the Duffy archive
'Duffy and aggravation go together like gin and tonic' David Bailey
Brian Duffy defined the image of the 1960s, and was as famous as the stars he photographed. Together with David Bailey and Terence Donovan, he is recognised as one of the innovators of 'documentary' fashion photography, a style which revolutionised fashion imagery and furthermore the fashion industry.
Together they formed a new cult of the fashion photographer putting themselves centre stage with the models and celebrities they captured on film and leading directly to a photographer cult that manifested itself in the famous film Blow Up. Swinging London had arrived and Duffy was in the thick of it. The press nicknamed the three photographers 'The Terrible Three' and as Duffy put it 'Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!' Norman Parkinson added to their notoriety by naming them 'The Black Trinity.'
Duffy's first commission came from Ernestine Carter, the then fashion editor of The Sunday Times. From there he was hired by British Vogue in 1957 where he remained working until 1963 photographing famous models such as Pauline Stone and Jean Shrimpton. In the 1960s Duffy worked for many of the major fashion magazine and papers, not only British but also serving long periods with French Elle magazine. His list of subjects was a role call of the celebrities of that time: Sidney Poitier, Michael Caine, Tom Courtney, Sammy Davis JNR, Nina Simone, John Lennon, Paul McCartney, Charlton Heston and William Burroughs.
Duffy's most famous photograph dates from the 1970s and is the iconic cover of David Bowie's album Aladdin Sane. He was also critically acclaimed for advertising campaigns for Benson & Hedges and Smirnoff.
Notoriously, in 1979 Duffy decided to give up photography, burning many of his negatives in a symbolic fire in his back yard. Many negatives were lost but in 2009, at the behest of his son, Chris, Duffy took up the camera again for a BBC documentary. Recently many negatives have been discovered and salvaged. The story of his early career and comeback was showcased in the aforementioned BBC documentary shown 8 times in 2010 and titled The Man Who Shot the 60s.
Duffy died on 31 May 2010.
Publisher: ACC
Size: 9.5 x 12'
208 pages, 48 colour & 160 b&w illustrations
Publisher's Description
Between 1997 and 2008 Philip-Lorca diCorcia completed eleven photographic portfolios in collaboration with W Magazine’s creative director Dennis Freedman who has been creative director at W Magazine, that together stand as one of the most ambitious editorial projects of the last decade. Together diCorcia and Freedman spanned the globe visiting locations such Havana, Paris, Bangkok, St. Petersburg, Los Angeles, and New York. The locations included a Lautner house in LA, the Mariinsky Opera House in St. Petersburg, Windows on the World atop the World Trade Center, and an notorious “club echangiste” (French swinger club) in Paris. The cast of characters included iconic models Nadja Auermann, Guinevere, Kristen McMenamy, Karen Elson, Shalom Harlow and Hannelore Knuts as well as actresses such as Isabelle Hupert and designer Marc Jacobs in addition to locals who were street cast. The stories were notable for their length and for the enigmatic and sometime veiled narratives. This is the first time all of these stories are gathered and published together.
Philip-Lorca diCorcia was born in Hartford, Connecticut, in 1951. He received his MFA in Photography from Yale University in 1979. diCorcia’s work has been the subject of solo shows at the Museum of Modern Art, New York, Institute of Contemporary Art, Boston, Centre National de la Photographie, Paris, Whitechapel Art Gallery, London, and the Museo Nacional Centro de Arte Reina Sofia, Madrid amongst others. He has been named a Guggenheim Foundation Fellow and has received multiple grants from the National Endowment for the Arts. His work is included in the collections of the Bibliotheque Nationale de France, the Museum of Modern Art, and the Metropolitan Museum of Art, among others. His previous books include A Storybook Life (2003), and Thousand (2007) which was exhibited at Los Angeles County Museum of Art. diCorcia lives and works in New York City.
You can view images from this book at the Damiani website
Publisher: Damiani
Size: 9.3 x 6.5'
288 pages, 120 illustrations
Publisher's Description
Between 1997 and 2008 Philip-Lorca diCorcia completed eleven photographic portfolios in collaboration with W Magazine’s creative director Dennis Freedman who has been creative director at W Magazine, that together stand as one of the most ambitious editorial projects of the last decade. Together diCorcia and Freedman spanned the globe visiting locations such Havana, Paris, Bangkok, St. Petersburg, Los Angeles, and New York. The locations included a Lautner house in LA, the Mariinsky Opera House in St. Petersburg, Windows on the World atop the World Trade Center, and an notorious “club echangiste” (French swinger club) in Paris. The cast of characters included iconic models Nadja Auermann, Guinevere, Kristen McMenamy, Karen Elson, Shalom Harlow and Hannelore Knuts as well as actresses such as Isabelle Hupert and designer Marc Jacobs in addition to locals who were street cast. The stories were notable for their length and for the enigmatic and sometime veiled narratives. This is the first time all of these stories are gathered and published together.
Philip-Lorca diCorcia was born in Hartford, Connecticut, in 1951. He received his MFA in Photography from Yale University in 1979. diCorcia’s work has been the subject of solo shows at the Museum of Modern Art, New York, Institute of Contemporary Art, Boston, Centre National de la Photographie, Paris, Whitechapel Art Gallery, London, and the Museo Nacional Centro de Arte Reina Sofia, Madrid amongst others. He has been named a Guggenheim Foundation Fellow and has received multiple grants from the National Endowment for the Arts. His work is included in the collections of the Bibliotheque Nationale de France, the Museum of Modern Art, and the Metropolitan Museum of Art, among others. His previous books include A Storybook Life (2003), and Thousand (2007) which was exhibited at Los Angeles County Museum of Art. diCorcia lives and works in New York City.
You can view images from this book at the Damiani website
Publisher: Damiani
Size: 9.3 x 6.5'
288 pages, 120 illustrations
Through a collection of Hedi Slimane's photographs of the 2000s, this publication presents the journey of the iconic designer into fashion before, during, and after his tenures at Yves Saint-Laurent and Christian Dior.
It is in this decade that critics acknowledge Slimane to have infused men's fashion with an androgynous, rock 'n' roll verve that influenced couture all over the world.
In a 2003 conversation with Interview's Ingrid Sischy, Slimane discussed his beginnings as a photographer: 'I started taking pictures before I even began in fashion. I didn't start with clothes until I was 16, but I had my first camera when I was 11. I've always taken pictures, almost like some people take notes or write down their thoughts.'
The four volumes reveal Slimane's duotone photographs mixing the music scene, street fashion, and his haute couture shows, are as fresh as his paradigm-shifting work in fashion.
They reveal his inspirations, his attention to both youth culture and classical references, and attest that his contribution to haute couture was maybe the constant refining of a line and silhouette that was to mark the culture of the noughties.
Limited box-set edition consisting of four volumes.
This highly collectable publication will be available around March 2011. Price of £110 is yet to be confirmed.
Publisher: JRP|Ringier
Size: 290 x 232 mm
800 pages, 600 b&w illustrations
Publisher's Description
Through a collection of Hedi Slimane's photographs of the 2000s, this publication presents the journey of the iconic designer into fashion before, during, and after his tenures at Yves Saint-Laurent and Christian Dior.
It is in this decade that critics acknowledge Slimane to have infused men's fashion with an androgynous, rock 'n' roll verve that influenced couture all over the world.
In a 2003 conversation with Interview's Ingrid Sischy, Slimane discussed his beginnings as a photographer: 'I started taking pictures before I even began in fashion. I didn't start with clothes until I was 16, but I had my first camera when I was 11. I've always taken pictures, almost like some people take notes or write down their thoughts.'
The four volumes reveal Slimane's duotone photographs mixing the music scene, street fashion, and his haute couture shows, are as fresh as his paradigm-shifting work in fashion.
They reveal his inspirations, his attention to both youth culture and classical references, and attest that his contribution to haute couture was maybe the constant refining of a line and silhouette that was to mark the culture of the noughties.
Limited box-set edition consisting of four volumes.
This highly collectable publication will be available around March 2011. Price of £110 is yet to be confirmed.
Publisher: JRP|Ringier
Size: 290 x 232 mm
800 pages, 600 b&w illustrations
How does fashion change our view of the world? How does photography change our view of fashion? In the 1990s, the fashion scene fundamentally reinvented itself, mainly through the medium of photography.
The lifestyle of that decade´s 20- and 30-somethings was shaped by music, subculture, intimacy and fashion. In the major capitals of the world, the protagonists of this era celebrated a new notion of corporeality and sought to distinguish themselves from the status quo and to develop an alternative lifestyle, a counter culture. This generation believed that it was necessary to portray ‘real’ life and an authentic youth culture and to blur gender differences and other social conventions.
The numerous photographs, campaigns and key picture series from magazines of that decade featured in this multi-layered publication shows how radical and innovative this generation was and how it remains influential in fashion, photography and art to this day.
English and German text.
Publisher: Kerber Verlag
Size: 297 x 240 mm
320 pages, 217 colour, 94 b&w illustrations
Publisher's Description
How does fashion change our view of the world? How does photography change our view of fashion? In the 1990s, the fashion scene fundamentally reinvented itself, mainly through the medium of photography.
The lifestyle of that decade´s 20- and 30-somethings was shaped by music, subculture, intimacy and fashion. In the major capitals of the world, the protagonists of this era celebrated a new notion of corporeality and sought to distinguish themselves from the status quo and to develop an alternative lifestyle, a counter culture. This generation believed that it was necessary to portray ‘real’ life and an authentic youth culture and to blur gender differences and other social conventions.
The numerous photographs, campaigns and key picture series from magazines of that decade featured in this multi-layered publication shows how radical and innovative this generation was and how it remains influential in fashion, photography and art to this day.
English and German text.
Publisher: Kerber Verlag
Size: 297 x 240 mm
320 pages, 217 colour, 94 b&w illustrations
The extraordinarily diverse work of the American photographer Mark Morrisroe has until now mostly been exhibited and discussed in connection with his famous Boston colleagues Nan Goldin and David Armstrong. Like them, Morrisroe documented his circle of friends, whose lifestyles were inspired by punk and bohemia. He finished his studies at the School of the Museum of Fine Arts in Boston in 1982, a few years later than Goldin and Armstrong. He moved to New york in the middle of the 1980s, and died of AIDS-related illnesses in 1989 when he was only 30. Mark Morrisroe’s short period of creativity in the 1980s was astonishingly productive and stands out because of its individual aesthetic. He captured his friends in painterly portraits and nude photographs; the Polaroid camera became a mirror of his own body, reflecting its illness and decay. During the three years leading up to his death he transferred his photographic experiments more and more to the dark room, where he used pages from porno magazines and x-ray images of himself as negatives.
This first comprehensive monograph shows many unknown works: from the tumultuous punk beginnings to the sandwich prints produced through extensive laboratory work, the graininess and muted colors of which are reminiscent of Pictorialism. The book is illustrated with more than 500 images, and accompa- nied by newly commissioned essays and a complete biography.
Publisher: JRP Ringier
Size: 203 × 262 mm
600 pages, 500 Colour images
Publisher's Description
The extraordinarily diverse work of the American photographer Mark Morrisroe has until now mostly been exhibited and discussed in connection with his famous Boston colleagues Nan Goldin and David Armstrong. Like them, Morrisroe documented his circle of friends, whose lifestyles were inspired by punk and bohemia. He finished his studies at the School of the Museum of Fine Arts in Boston in 1982, a few years later than Goldin and Armstrong. He moved to New york in the middle of the 1980s, and died of AIDS-related illnesses in 1989 when he was only 30. Mark Morrisroe’s short period of creativity in the 1980s was astonishingly productive and stands out because of its individual aesthetic. He captured his friends in painterly portraits and nude photographs; the Polaroid camera became a mirror of his own body, reflecting its illness and decay. During the three years leading up to his death he transferred his photographic experiments more and more to the dark room, where he used pages from porno magazines and x-ray images of himself as negatives.
This first comprehensive monograph shows many unknown works: from the tumultuous punk beginnings to the sandwich prints produced through extensive laboratory work, the graininess and muted colors of which are reminiscent of Pictorialism. The book is illustrated with more than 500 images, and accompa- nied by newly commissioned essays and a complete biography.
Publisher: JRP Ringier
Size: 203 × 262 mm
600 pages, 500 Colour images
Albert Watson is one of the world's most successful fashion and commercial photographers. His striking images have appeared on more than 250 Vogue covers around the world and have been featured in countless other publications such as Time, Vibe and over 40 covers of Rolling Stone magazine. Albert's celebrity portraits include well-known and iconic movie stars, rock stars, rappers, supermodels, even President Clinton and Queen Elizabeth II (Watson was the official Royal Photographer for Prince Andrew's wedding to Sarah Ferguson).
Here, for the first time, Watson presents a 40-year retrospective of the best of his work for the world's leading fashion magazines. With over 350 images, individually hand-picked from his phenomenal archive and including a huge amount of unpublished material from an extraordinary career, UFO is a landmark publishing event from one of the world's greatest photographers.
Publisher: PQ Blackwell
Publisher's Description
Albert Watson is one of the world's most successful fashion and commercial photographers. His striking images have appeared on more than 250 Vogue covers around the world and have been featured in countless other publications such as Time, Vibe and over 40 covers of Rolling Stone magazine. Albert's celebrity portraits include well-known and iconic movie stars, rock stars, rappers, supermodels, even President Clinton and Queen Elizabeth II (Watson was the official Royal Photographer for Prince Andrew's wedding to Sarah Ferguson).
Here, for the first time, Watson presents a 40-year retrospective of the best of his work for the world's leading fashion magazines. With over 350 images, individually hand-picked from his phenomenal archive and including a huge amount of unpublished material from an extraordinary career, UFO is a landmark publishing event from one of the world's greatest photographers.
Publisher: PQ Blackwell