The first printing is available as a series of "Designer Editions". Each edition will be bound in a fabric from one of six designers in the book and comes in a plexiglass box. The time-honored "Paisley" was Veronica Etro's pick for the "Etro Edition", limited to just 2,000 copies. From Azzedine Alaia, Cristobal Balenciaga, and Coco Chanel, to Alexander McQueen, Yves Saint Laurent, and Vivienne Westwood, the greatest fashion designers of the 20th and 21st centuries are featured in the permanent collection of The Museum at the Fashion Institute of Technology. The curators of America's premier fashion museum have selected 500 masterpieces of the art of fashion, providing a visual guide to the history of fashion. Known for its innovative and award-winning exhibitions and its outstanding permanent collection of more than 50,000 garments and accessories, The Museum at FIT in New York City is one of only a handful of museums in the world devoted to the art of fashion. The Museum has built its collection around aesthetically and historically significant "directional" fashion-the kind of clothing and accessories that move fashion forward. The designers are organized from A-Z: Adrian, Balenciaga, Chanel, Dior...through Xuly Bet, Yamamoto, and Zoran. Photographs of selected garments from the Museum's permanent collection illuminate each of the featured designers, while curatorial texts explain why each designer is important in fashion history and what is special about the individual pieces featured. In addition to showcasing 100 of the most important designers of the last century with essays by the curators at FIT and a foreword by Suzy Menkes, this book also explores how a fashion museum goes about collecting and exhibiting fashion. In her introductory essay, director and chief curator Valerie Steele writes about the rise of the fashion museum, and the emergence of the fashion exhibition as a popular and controversial phenomenon. "Paisley": it's practically synonymous with the Etro name, and the five "Paisley" motifs selected by Veronica Etro for this edition are no exception. For decades the company has explored and reinterpreted the classic droplet-shaped vegetable decoration, rich in history and meanings, through experimentation and technology, drawing from the past into the present with timeless international style. Six designers - Akris, Etro, Stella McCartney, Missoni, Prada, and Diane von Furstenberg - have contributed fabrics - bold, iconic, revolutionary - to cover 1,000 to 2,000 books each, for a total first printing of 11,000 copies. Crafted by hand at a bindery in the heart of Italy, and stamped with a unique number, every copy is an instant classic, and an addition to your fashion library that is truly one-of-a-kind.
Interweaving nuanced discussions of politics, visuality, and gender, Gender and Activism in a Little Magazine uncovers the complex ways that gender figures into the graphic satire created by artists for the New York City-based socialist journal, the Masses. This exceptional magazine was published between 1911 and 1917, during an unusually radical decade in American history, and featured cartoons drawn by artists of the Ashcan School and others, addressing questions of politics, gender, labor and class. Rather than viewing art from the Masses primarily in terms of its critical social stances or aesthetic choices, however, this study uses these images to open up new ways of understanding the complexity of early 20th-century viewpoints. By focusing on the activist images found in the Masses and studying their unique perspective on American modernity, Rachel Schreiber also returns these often-ignored images to their rightful place in the scholarship on American modernism. This book demonstrates that the centrality of the Masses artists' commitments to gender and class equality is itself a characterization of the importance of these issues for American moderns. Despite their alarmingly regular reliance on gender stereotypesÃ¢"and regardless of any assessment of the efficacy of the artists' activismÃ¢"the graphic satire of the Masses offers invaluable insights into the workings of gender and the role of images in activist practices at the beginning of the last century.
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