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This entirely new collection of essays picks up from the 2005 Latin American Fashion Reader to explore ideas of rupture and repair in the past and present of Latin American fashion.

The New Latin American Fashion Reader

Figures Notes on Contributors Acknowledgments Introduction: Reimagining Rupture and Repair I: Archival Considerations 1. Archives Matter: Dress Histories, Buildings, and the Digital Era (Rita Morais de Andrade, Universidade Federal do Goiás, Brazil) 2. Catholic Reliquary Lockets in the Colonial Americas: Foreign Objects with Native Presence (Alison Napier, Independent Scholar, USA) 3. Manila Shawls, Trading Routes and Global Encounters (Inés Corujo Martín, CUNY New York City College of Technology, USA) 4. Decolonizing Fashion, Assembling a Ruana History. Genealogies of a Resisting and Undesirable Garment (Edward Salazar Celis, University of California at Santa Cruz, USA) 5. The Name of the Clothes: Cuban Fashion Brands, 1959-1989 (María A. Cabrera Arús, New York University, USA) II: Culture's Empowering Lens 6. Afro-Brazilian Styles: Dress, Race, and Coloniality in Nineteenth-Century Portraits (Alliny Cabral, Independent Scholar, Brazil) 7. Spotting Afro-Peruvian Women: A (Brief) Sartorial History in Polka Dots (Tamara Walker, Barnard College, USA) 8. "Are Feminists Elegant?": Shaping Gender and Literary Style Through Fashion (Alba Aragón, Bridgewater State University, USA) 9. Imagining through Images: Clothes and Family Memories in Afro-Brazilian Identity (Hanayrá Negreiros, Museu de Arte de São Paulo, Brazil) III: Social Unrest and Resistance 10. Skirting the Colonial Gaze: Indigenous Reconfigurations of Feminine Identity (María Claudia Andre, Hope College, USA) 11. Fashion, Performance, and Re-existing in Trans Representation (Stephanie N. Saunders, Lyon College, USA) 12. The Politics of Clothed Bodies in Chile's Social Outburst (Pía Montalva, Independent Scholar, Chile) 13. Fashion in Distress: Cultural Fragments and Recycled Identities in Contemporary Argentina (Regina A. Root, William &amp; Mary, USA) 14. From Low to High: Fashion, Reggaeton, and Latino Male Idols (William Cruz Bermeo, Universidad Pontificia Bolivariana, Colombia) IV: Creative and Collective Agency 15. The Fashion of Face Masks in Mexico: Protest, Culture, and Idnetity during the COVID-19 Pandemic (Andrea A. Gaytán Cuesta, University of North Florida, USA) 16. Transnational Experiences in Fashion: The Work of Equihua, Barragán and Ricardo Seco (Tanya Meléndez-Escalante, The Museum at the Fashion Institute of Technology, USA) 17. The National Movement of Maya Weavers and Neocolonialism in Fashion Intellectual Property (Kedron Thomas, University of Delaware, USA) 18. Design as a Natural Healer (Maria Carolina Garcia, Universitário Belas Artes de São Paulo, Brazil)

This book is about something special that we all desire - love. And it is also a book about what keeps us apart - the desire to be seen but being unwilling to do what needs to be done to see. This book will change your life. It wull give you all the wings you need to fly again.

His friends called him V. He used to feel intimidated by the fashion world but he got over it. He designed his first Louis Vuitton collection in three hours. He cared more about pageantry than clothes. He wasn’t precious about his ideas. He sometimes made work and added the meaning later. He contradicted himself all the time but he saw no problem with that. Fashion for him was one big art project, and also kind of a joke. He believed in God. He believed in logos. He thought insisting on novelty in fashion was farcical; a critique meant to keep people like him out. Some nights when he couldn’t sleep he wondered how people would remember him once he was gone. Virgil Abloh, who died unexpectedly in 2021 at age 41, defied categorization. Born in Rockford, Illinois to Ghanaian immigrants, he learned to sew as child, studied civil engineering in college and then architecture in graduate school. He entered the world of fashion sideways, without formal training, upsetting the status quo first with the stratospheric success of Off-White and then with his appointment as Artistic Director of menswear at Louis Vuitton. He pierced the divisions between pop culture and couture, fashion, music, and design, and was as influenced by Marcel Duchamp and Mies van der Rohe, Albert Murray, Rammellzee, Drake, DJ Benji B, Kylie Jenner, and Bella Hadid, as by the storied histories of high fashion houses. He was fascinated by the commodification of culture and the dialectic between appropriation and reappropriation, between ‘high’ and ‘low’. He admired the ready-made and the imitative for the way in which they force you to think carefully about the context in which they were created. He felt originality was a sham, and saw clearly the way Fashion, with a capital F, depends on the policing of who is allowed the mantle of ‘genius’. The establishment bridled at his approach even as they celebrated his work. He, in turn, understood that people wanted him to be a symbol, to fit an idea of the Black Designer, but he refused any kind of easy definition. Here, in Work in Progress, is a blueprint for a way to live, a conversation between friends, a challenge to any idea of black and white thinking. A portrait of an iconoclast, WORK IN PROGRESS takes us inside the mind of one of the most visionary and transformational designers of our time.

335876 TBA

Easy, uplifting dopamine designs you actually want to wear

Not Your Grandma's Crochet

Cultural Histories of Design

The Professionalization of Window Display in Britain, 1919-1939

A Guide to Changing Bridal Fashion from the 18th to the 21st Century

How to Read a Wedding Dress

Material Culture of Art and Design

Meanings and Metaphors in Painting and Literature

Ceramics in the Victorian Era

The first publication dedicated to the house of Chanel and its creations as reported in Vogue, featuring iconic illustrations and photography from throughout the magazine's history and across its international editions. Vogue talent-spotted the work of a young Gabrielle Chanel as early as the 1910s and continued to report on the designer through the decades, from her seminal 'little black dress' to the most luxurious haute couture creations. From 1983, Karl Lagerfeld's re-imagining of the brand also found pride of place in the lauded magazine, inspiring some of the world's greatest stylists and photographers across the international editions of Vogue. Chanel in Vogue includes two volumes: the first volume is dedicated to the era of Gabrielle Chanel, and the second focuses on the work of her successors, Karl Lagerfeld and Virginie Viard, and up to the present day. This beautifully produced publication gathers together the inspirational editorials dreamt up by world-famous fashion illustrators and photographers of the twentieth and twenty-first centuries, from Edward Steichen, Horst P. Horst, George Hoyningen-Huene, Irving Penn and Helmut Newton, to Peter Lindbergh, Ellen von Unwerth, Annie Leibovitz, Steven Meisel and many more. Featuring iconic images as well as lesser-known photography and illustration, this book is a trove of stunning visual material, granting readers unparalleled access to the more than a century's worth of fashion imagery. Published as two volumes in a slipcase, this high-end, large-format package is the definitive book on the fashion of Chanel as seen through the pages of the world's most influential fashion magazine.

Chanel in Vogue

Fashion Auteurs

Before Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele's stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces - imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film. 
With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men's and women's collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity. 
Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled 'Rhizomatic Scores', referencing Deleuze and Guattari's influential concept; or the Fall/Winter 2020 menswear collection titled 'Masculine, Plural' that referenced Butler's notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.

Alessandro Michele

A beautifully illustrated practical guide to creating historically accurate 19th-century garments, gowns, and silhouettes for modern body shapes.

A Step-by-Step Guide

19th-Century Patterns for the Modern Body

Vogue Goes Pop Colouring Book

The Making of the Most Influential Videogames of All Time

Playmakers

A key introduction to critical and speculative design practice

History, Theory, and Practices

Critical Design in Context

Explores how Ray Petri and the Buffalo collective revolutionized fashion photography in the 1980s by blending subcultural style, radical diversity, and gender politics to create a new cultural template still influential today

Scottish-born, visionary stylist Ray Petri (1948-1989) defined the look and feel of radical 1980s magazines such as The Face, i-D, and Arena. Founder of the maverick Buffalo collective, Petri styled kilts with MA-1 flight jackets and Armani suits with Dr. Martens boots to create genre-defying looks that shook up London's subcultural scene from grassroots to high fashion. Harnessing the power of street style, sportswear, club culture, new wave, and dandyism, Petri's vision took the sartorial vocabulary of the perpetually displaced into the mainstream. His radical casting of Black and multiracial models, styling of men in skirts, and women cast as men was a retort to the prevailing aesthetic in contemporary fashion. Moreover, it marked a culturally reflexive, implicitly political approach to the relationship between fashion and identity. Challenging the policing of masculinity and sexuality in particular, Petri's imagery boldly toyed with the iconography of homoeroticism, employing the language of fashion in the activism for gay liberation against the backdrop of the AIDS crisis. The eclectic Buffalo circle included fellow stylist Mitzi Lorenz; photographers Jamie Morgan, Mark Lebon and Jean-Baptiste Mondino; model-muses Nick and Barry Kamen and a young Naomi Campbell; and musicians such as Neneh Cherry. Shaped by Petri, the Buffalo attitude is intrinsic to style culture today having since inspired legions of photographers, stylists, and designers from Kim Jones to Ibrahim Kamara, Martine Rose, and Grace Wales Bonner. The spirit of Buffalo lives on in the countercultural references, cultural diversity, and post-gender conversation that underlies the most powerful of contemporary fashion imagery. This book traces how Ray Petri and Buffalo created the template for modern fashion photography by advocating not simply for a new aesthetic but for a new cultural order.

Ray Petri

The New Latin American Fashion Reader

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