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The World's Most Influential Fashion Designers: Hidden Connections and Lasting Legacies of Fashion's Iconic Creators
This handsomely illustrated volume examines fifty of the most influential fashion designers of the past 100 years. Each designer's most significant creations are illustrated and discussed in light of how they survived the test of time, and then went on to influence fashion to the present day. The author categorizes leading fashion designers as follows--85% (17)
Designers as Celebrities: Calvin Klein, Ralph Lauren, Isaac Mizrahi, and others
Defining Women for a New Generation: Gabrielle Chanel (20s and 50s), Claire McCardell (40s) Halston (70s), and others
Designers as Artisans: Mariano Fortuny, Cristobal Balenciaga, Hohji Yamamoto, Olivier Theyskins, and others
Designers as Futurists: Pierre Cardin, Andre Courreges, Thierry Mugler, and others
Designers as Modernists: Francisco Costa, Jill Sander, Raf Simmons, and others
Designers as Historians: John Galliano and Vivienne Westwood
Designers as Conceptualists: Elsa Schiaparelli, Hussein Chalayan, Alexander McQueen, and others
This comprehensive analysis of fashion design and how it has evolved is complemented with more than 350 color illustrations.
Internationally Awarded Sri Lanka’s most prolific and influential Architect - Geoffrey Bawa
Geoffrey Bawa was Sri Lanka’s most prolific and influential architect. His work has had tremendous impact upon architecture throughout Asia and is unanimously acclaimed by connoisseurs of architecture worldwide. Surprisingly however, his architecture is not well known outside the region, and has not received the international attention it deserves. On only the third occasion since he founded the Aga Khan Award for Architecture in 1977, His Highness the Aga Khan presented the Special Chairman's Award during the 2001 Award Cycle to Mr. Bawa to honour and celebrate his lifetime achievements in and contribution to the field of architecture. Bawa was born in 1919 in what was then the British colony of Ceylon. His father was a wealthy and successful lawyer of Muslim and English parentage, while his mother was of mixed German, Scottish and Sinhalese descent. In 1938 he went to Cambridge to read English, before studying Law in London, where he was called to the Bar in 1944. After World War II he joined a Colombo law firm, but he soon tired of the legal profession and in 1946 set off on two years of travel that took him through the far East, across the United States and finally to Europe. In Italy he toyed with the idea of settling down permanently and resolved to buy a villa overlooking Lake Garda. He was now twenty-eight and had spent one-third of his life away from Ceylon. Not only had he become more and more European in outlook, but his ties to Ceylon were also weakening: both his parents were dead and he had disposed of the last of his Colombo property. The plan to buy an Italian villa came to nothing however, and in 1948 he returned to Ceylon where he bought an abandoned rubber estate at Lunuganga, on the south-west coast between Colombo and Galle. His dream was to create an Italian garden from a tropical wilderness, but he soon found that his ideas were compromised by lack of technical knowledge. In 1951 he was apprenticed to H. H. Reid, the sole surviving partner of the Colombo architectural practice of Edwards, Reid and Begg. When Reid died suddenly a year later Bawa returned to England and, after spending a year at Cambridge, enrolled as a student at the Architectural Association in London, where he is remembered as the tallest, oldest and most outspoken student of his generation. Bawa finally qualified as an architect in 1957 at the age of thirty-eight and returned to Ceylon to take over what was left of Reid's practice. He gathered together a group of talented young designers and artists who shared his growing interest in Ceylon’s forgotten architectural heritage and his ambition to develop new ways of making and building. As well as his immediate office colleagues, this group included the batik designer Ena de Silva, the designer Barbara Sansoni and the artist Laki Senanayake, all of whose work figure prominently in his buildings. He was joined in 1959 by Ulrik Plesner, a young Danish architect who brought with him an appreciation of Scandinavian design and detailing, a sense of professionalism and curiosity about Sri Lanka’s building traditions. The two formed a close friendship and symbiotic working relationship that lasted until Plesner quit the practice in 1967 to return to Europe and Bawa was joined by the engineer K Poologasundram, who remained his partner for the next twenty years. The practice established itself as the most respected and prolific in Sri Lanka, with a portfolio that included religious, social, cultural, education, governmental, commercial, and residential buildings, creating a cannon of prototypes in each of these areas. It also became the springboard for a new generation of young Sri Lankan architects. One of Bawa's earliest domestic buildings, a courtyard house built in Colombo for Ena De Silva in 1961, was the first to fuse elements of traditional Sinhalese domestic architecture with modern concepts of open planning, demonstrating that an outdoor life is viable on a tight urban plot. The Bentota Beach Hotel of 1968 was Sri Lanka’s first purpose-built resort hotel, combining the conveniences required by demanding tourists with a sense of place and continuity that has rarely been matched. During the early 1970s a series of buildings for government departments, developed ideas for the workplace in a tropical city, culminating in the State Mortgage Bank in Colombo, hailed at the time as one of the world's first bio-climatic high-rises. Bawa's growing prestige was recognized in 1979, when he was invited by President Jayawardene to design Sri Lanka’s new Parliament at Kotte, 8 kilometers east of Colombo. At Bawa's suggestion the swampy site was dredged to create an island at the centre of a vast artificial lake, with the Parliament building appearing as an asymmetric composition of copper roofs floating above a series of terraces rising out of the water. Abstract references to traditional Sri Lankan and South Indian architecture were incorporated within a modernist framewo"Krishna Mehta" "fashion designer" "Lakme Fashon Week bash at Vie Lounge" "lakme fashion week 2010"
"Krishna Mehta" "fashion designer" "Lakme Fashon Week bash at Vie Lounge" "lakme fashion week 2010"
Following the format of "The Art Book", this volume looks at the fashion world and the people who created and inspired it. The book contains an A-Z guide to the 500 most important names in fashion since the 1860s, including clothes and accessory designers, photographers, models and iconic individuals who instigated or symbolize a fashion movement. Designers represented include Paul Poiret, Christian Dior, Balenciaga, John Galliano, Coco Chanel, Pierre Balmain, Alexander McQueen, Stella McCartney, Jeanne Lanvin and Issey Miyake. The book provides a survey of fashion photography with work from Cecil Beaton, David Bailey, Guy Bourdin, Irving Penn, Steven Meisel, Nan Goldin, Eve Arnold, Craig McDean, Richard Avedon and Helmut Newton. The book is arranged alphabetically, and a cross-reference system and glossary explain collaborations and techniques used in fashion.Related topics:
James Abbe, a 1920s fashion photographer, and Zoran, the designer whose simple, monochromatic clothes were extremely popular in the 1970s, anchor the 500 entries in this massive encyclopedia of fashion. Each designer, photographer, model, or icon gets a page with a large photo and informative but short caption. This has the wonderful effect of weighting each entry equally, thereby devoting the same amount of space to Charles Revson, creator of the Revlon cosmetics empire and relative makeup newcomer Francois Nars, pioneering clothing designer Mariano Fortuny and contemporary favorite Tom Ford.
Clearly, a good set of eyes edited this book. It's a tall order to choose just one image to define the many facets of a designer, model, or photographer. The choices made here are excellent and often surprising. The indomitable Coco Chanel demonstrates the ease of movement her designs afforded women by briskly swinging her arm out to one side, while Kate Moss is shown at the height of her waifdom, likely the mode in which she will best be remembered. Model Linda Evangelista is pictured with curly locks of hair. It's obvious, too, that the editors employed the haphazard juxtaposition created by the alphabetical organization. Facing entries, no matter how seemingly incongruous, are united by a visual theme, to spectacular effect. The ovals made by the either screaming or yawning mouths of Kurt Cobain and his infant daughter are mirrored in a 1937 Jean Cocteau illustration of an Elsa Schiaparelli design. A model in a 1930s outfit by John-Frederics faces a portrait of post-punk design queen Betsey Johnson, whose floral outfit echoes the flowery silhouette behind the model. A troika of Robert Lee Morris bracelets matches the arcs of a bombed-out London building in a 1941 Beaton photo of a Digby Morton design. The vibrant prints of Emilio Pucci and Lilly Pulitzer fall together naturally.
The reams of fabulous images and the inventive design alone make The Fashion Book a treat at any cost, but the low price-to-size ratio (like its cousins The Art Book and The Photography Book) makes it a real steal.
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