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An expose on the fashion industry written by the Observer's 'Ethical Living' columnist, examining the inhumane and environmentally devastating story behind the clothes we so casually buy and wear. Coming at a time when the global financial crisis and contracting of consumer spending is ushering in a new epoch for the fashion industry, To Die For offers a very plausible vision of how green could really be the new black. Taking particular issue with our current mania for both big-name labels and cheap fashion, To Die For sets an agenda for the urgent changes that can and need to be made by both the industry and the consumer. Far from outlining a future of drab, ethical clothing, Lucy Siegle believes that it is indeed possible to be an 'ethical fashionista', simply by being aware of how and where (and by whom) clothing is manufactured. The global banking crisis has put the consumer at a when money is tight should we embrace cheap fast fashion to prop up an already engorged wardrobe, or should we reject this as the ultimate false economy and advocate a return to real fashion, bolstered by the principles of individualism and style pedigree? In this impassioned book, Siegle analyses the global epidemic of unsustainable fashion, taking stock of our economic health and moral accountabilities to expose the pitfalls of fast fashion. Refocusing the debate squarely back on the importance of basic consumer rights, Siegle reveals the truth behind cut price, bulk fashion and the importance of your purchasing decisions, advocating the case for a new sustainable design era where we are assured of value for ethically, morally and in real terms.

Sophie Lovell was born in London. After graduating from the University of Sussex and Chelsea College of Art & Design, she moved to Berlin in 1994. She is a  writer, curator and creative consultant as well as a long-term contributing editor and currently the Germany editor of the international lifestyle magazine Wallpaper*. She has written and edited several books on design and architecture including Limited Edition: Prototypes, One-Offs and Design Art Furniture and Furnish – Furniture and Interior Design for the 21st Century.

Contact sheets unveil the story of what went into a photograph. Was it the outcome of what a photographer had in mind from the outset? Did it emerge from a diligently worked sequence? Was the right shot a matter of being in the right place at the right time? Here, for the first time, are the best contact sheets created by Magnum photographers. They reveal the creative methods, strategies, and editing processes used by some of the acknowledged greats of photography, from legends such as Henri Cartier-Bresson and Elliott Erwitt to Magnum’s latest generation, including Jonas Bendiksen, Trent Parke, and Alec Soth.Events, places, and people from over seventy years of history are contained in Magnum’s contact sheets, including the Normandy landings by Robert Capa, Che Guevara by Rene´ Burri, the Paris riots of 1968 by Bruno Barbey, Malcolm X by Eve Arnold, and New York street scenes by Bruce Gilden.With supporting texts by the photographers or by those selected by the estates of deceased Magnum members, and ancillary material such as press cards, notebooks, and filed captions, this landmark publication provides a depth of understanding and a critical analysis of the backstory to a photograph.

Annie's work beautifully displayed in black and white. Pages are clean, spine is secure, and we could say "like new" if the dust jacket, which it must have had when it was new, was here.

“Personal style really originated with Iris Apfel; she has always espoused the virtues of not just dressing for yourself, but being who you are and doing it unapologetically, which is perhaps why she and her messaging and aesthetic have resonated so comprehensively. She’s a transcendent icon!”— Leandra Medine, manrepeller.comA unique and lavishly illustrated collection of musings, anecdotes, and observations on all matters of life and style, infused with the singular candor, wit, and exuberance of the globally revered ninety-six-year-old fashion icon whose work has been celebrated at the Metropolitan Museum of Art’s Costume Institute and by countless fans worldwide.A woman who transcends time and trends, Iris Apfel is a true original, one of the most dynamic personalities in the worlds of fashion, textiles, and interior design. As the cofounder with her husband, Carl Apfel, of Old World Weavers, an international textile manufacturing company that specialized in reproducing antique fabrics, her prestigious clientele has included Greta Garbo, Estee Lauder, Montgomery Clift, and Joan Rivers. She also acted as a restoration consultant and replicated fabric for the White House over nine presidential administrations. Iris’s travels worldwide and a passion for flea markets of all sorts inspired her work and fueled her passion for collecting fashion and accessories.In 2005, she was the first living person who was not a designer to have her clothing and accessories exhibited at the Costume Institute at the Metropolitan Museum of Art, a blockbuster show that catapulted her to fame and a career as a supermodel, muse, and collaborator for renowned brands, from Citroen to Tag Heuer, and global gigs at Bon Marché in Paris and the Landmark Mandarin Oriental in Hong Kong. In 2015, acclaimed director Albert Maysles released Iris, his last film—now an Emmy Award nominee—to a global audience.Now, this self-dubbed geriatric starlet, whose irrepressible authenticity, wit, candor, and infectious energy have earned her nearly a million followers on social media, has created an entertaining, thought-provoking, visually arresting, and inspiring volume—her first book—that captures her unique joie de vivre. Iris Apfel: Accidental Icon, contains an eclectic mix of musings and 180 full-color and black-and-white photos and illustrations—presented in the same improvisational, multifaceted style that have made Iris a contemporary fashion icon. Astute maxims, witty anecdotes from childhood to the present, essays on style and various subjects, from the decline of manners to the importance of taking risks, fill the book as do lists, both proclamatory, revelatory, and advisory.All are paired with a bold, color-filled, exciting design that varies from page to page. Here, too, is a treasure trove of never-before-published personal photographs and mementos, mixed with images from top international fashion photographers and illustrators with enchanting, surprising novelties such as Disney cartoons, vintage postcards, the Iris Apfel Halloween costume for children, and more.

Drake presents a sublime and dramatic narrative about the high-chic fashion wars of 1970s Paris where two titanic geniuses and rivals, Yves Saint Laurent and Karl Lagefeld, collided and sparked a tumultuous decade.

In July 1881, bill-posting became legal in Paris. The result was an explosion of creativity over three glorious decades recognised as the golden age of poster advertising, stirring together elements of new printing technology, William Morrisâ?? attempts to reconcile medieval artistry with modern industry, the influence of newly-open Japan on European engraving and aesthetics, and the talents of artists as diverse as Jules Cheret, Henri de Toulouse-Lautrec, Alphonse Mucha and Aubrey Beardsley.The Art Nouveau Poster is the most comprehensive survey to date of this vivid and much loved subject, featuring over 400 illustrations from all of the major European centres, Britain and the United States, with an informative and accessible text. A final chapter looks at the revival of interest in the 1960s following major retrospective exhibitions of Alphonse Mucha and Aubrey Beardsley, and features work from the psychedelic era.Â

With opulent fashions the ultimate in style, women of the late Victorian era wore a great deal of silks and satins. Daring combinations of bright colors were in. So were large hats, profusely trimmed. But by the end of the nineteenth century, ladies' tastes in fashion were changing, along with female lifestyles. Larger numbers of women were not only working outside the home, they were also playing tennis and golf, and riding bicycles and horses. All these activities called for a definite change in female fashions. Women came to rely on tailored suits with full skirts and fitted jackets over simple blouses. Riding habits called for a long, draped skirt worn over a pair of trousers.With the dawn of the twentieth century, professional tailors turned to the comprehensive 1895 "Keystone" guide to create office outfits, riding pants, shirtwaists, and other garments. Filled with more than eighty patterns, the handy resource provided tailors with suggestions for fabric choices as well as instructions for the proper measurement, fitting, cutting, and sewing of such items as a bolero jacket, a shirtwaist with yoke, a single-breasted vest, and riding breeches.Supplemented with a selection of newly captioned illustrations from The Delineator magazine, this volume will be a valuable reference for costume designers and fashion historians, and a fascinating window on the past for nostalgia enthusiasts.

The award-winning, field-defining history of gay life in New York City in the early to mid-20th centuryGay New York brilliantly shatters the myth that before the 1960s gay life existed only in the closet, where gay men were isolated, invisible, and self-hating. Drawing on a rich trove of diaries, legal records, and other unpublished documents, George Chauncey constructs a fascinating portrait of a vibrant, cohesive gay world that is not supposed to have existed. Called "monumental" (Washington Post), "unassailable" (Boston Globe), "brilliant" (The Nation), and "a first-rate book of history" (The New York Times), Gay New Yorkforever changed how we think about the history of gay life in New York City, and beyond.

Named a Best Book of 2017 by NPR and GQJoining the ranks of the classics Please Kill Me, Our Band Could Be Your Life, and Can’t Stop Won’t Stop, an intriguing oral history of the post-9/11 decline of the old-guard music industry and rebirth of the New York rock scene, led by a group of iconoclastic rock bands.In the second half of the twentieth-century New York was the source of new sounds, including the Greenwich Village folk scene, punk and new wave, and hip-hop. But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war—and a dozen New York City bands that had been honing their sound and style in relative obscurity suddenly became symbols of glamour for a young, web-savvy, forward-looking generation in need of an anthem.Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend—and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.