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Words+Bindings - The Fashion Books Thread - Page 6

post #76 of 139
Thread Starter 

Some art student is holding onto the books I had ordered from the library, but have 50 Contemporary Fashion Designers coming this week. From the sounds of it it's similar to Many of Them, with a bent more informative than artsy

post #77 of 139
Many of them is a magazine though smile.gif

Originally Posted by g transistor View Post

I'm not really sure, it's not too expensive (was $45 USD for me). It's kinda small, like dimension-wise but pretty thick, with LOTS of designers but very little of each designer, but at the same time a lot of lesser known designers as well as very conceptual ones (cosmic wonder & bless). There are some interviews etc/nonsensical writings (Rick Owens film...thing), and very artsy photos (hello finger covering lens in 30% of the photos). I'll do a proper later this week so you can see if you want it

Sounds good thanks. Yeah, with most mags, the table of content can be very appealing but then you start browsing through and you realize the features are like two pages long and there's a lot of fluff in between. I mean, you gotta fill all those pages so it's understandable (especially for smaller magazines) but still...
post #78 of 139

Something a little different from my library. 

Graphic Design for Fashion by Jay Hess and Simone Pasztorek


Collection of invitations, lookbooks, branding and packaging arranged by (graphic) designer.


















post #79 of 139
I like that
post #80 of 139
To all the photographers out there (and everyone else), what are some great photography books ? I'm talking about works that you really like personally, doesn't have to be major or seminal stuff necessarily.
post #81 of 139
I recently purchased these two and I really like them...

Rinko Kawauchi - Illuminance


Wolfgang Tillmans - Neue Welt


Can post images if people would like but not sure if it would suit this thread. Can't really review them since photography books in my opinion are pretty hard to qualify as to why you like them... I mean there's obviously good photography, but when I buy photo books it's mostly emotional responses rather than objective "good composition" etc
post #82 of 139
if you like b&w photogrpahy

i can do a post on that here if you like ? it's sitting on the table ...

also been meaning to check these

post #83 of 139
It would be cool to post photography/art books too... it's kinda hard to find out what's out there that is good
post #84 of 139
Yeah I'm all for some posts/reviews on that stuff, all of it. I think it's alright as long as we don't derail the thread into a 100% photography discussion. It's not like there are no connections with fashion and streetwear either, I mean Tillmans' work for i-D etc in the 90s had a pretty big influence on the evolution of fashion photography... Fashion is never only about the clothes anyway.

I don't think reviews need to be objective though. It's way more interesting if you go "here's why this book is great, look at this page, the rest of the book is nice but this picture/text/whatever is all that matters" followed by a bunch of subjective reasons why. I'm talking about reviews in general though, I get what you're saying re: photographs

Or a new thread
post #85 of 139
Talking to Myself by Yohji Yamamoto & a whole host of others listed on the link.

The edition I have is made up of two books. The larger book has lots of lookbook and behind the scenes photos spanning a huge period of Yohji's career. This is then interspersed with Yohji musing on various topics like femininity, the past, philosophy, poetry and more in the spirit of "My Dear Bomb", but pithier. The text in the book is all in Japanese with English and French translations at the end of the book.

The second book is thinner and is informally known as the 1981 - 2002 book as it contains a full retrospective of Yohji's women's collections spanning that entire period with a small thematic caption and a few photos summarising the collection for that year. This book in particular is a great resource (even though it does not have the full catwalk shots) as it helps provide some context for a lot of the older collections.

The physical objects themselves are amazing. Great paper (a kind of light card) is used for the pages themselves, each page is matte with a nice dry texture and it showcases the ink very well. Photography, text and paintings show up beautifully and each page is really a beauty to behold. For the first week I owned the book I didn't really read or study anything on the pages, just the act of turning them and looking casually at the images were enough. The thread binding is very solid and it looks like it will survive a lot of use while showing signs of aging well. The cover of the book is some sort of coated paper (I would have said it was coated with a kind of linen, but I could be wrong. I tried taking a closer shot of the cover to give you guys an idea of the texture, but it may not have turned out too well). Both books are provided in a single slipcase made from the same paper as the book covers that is also stitched closed at the top.

This book is one of the prides of my young fashion library for sure and I would recommend it to anybody interested in Yohji's work. The combination of archival photography and some insights into his mindset combined with great materials and typography make it worth it.

Pictures (hope not too many) -

Edited by Ivwri - 1/23/13 at 4:05am
post #86 of 139
Got the Vestoj shame issue. Vestoj is basically fashion academics writing a fashion criticism mag.


In Goya’s sketch For being born somewhere else we see a man wearing a sanbenito and a coroza hat, the garments of shame during the Spanish Inquisition; he is turned away from us, covering his face with his hands. His body language is not so dissimilar from what our impulse would tell us to do, were we in his shoes. Shame is personal, but also universal: we blush, cast our eyes down, lower our heads and seek to hide from prying eyes. Whereas guilt causes us to feel regret about something we have done, in shame our very selves are up for painful judgment. Shame allows us to see ourselves in the eyes of others, and here its link to dress is at its most potent.

For us this journey began with Adam and Eve, banished from the Garden of Eden by a wrathful God – the beginning of consciousness, shame and also clothing. Our exploration of ‘fashion and shame’ originates with the symbolic birth of mankind; from it we have attempted to delve into this multifaceted and complex subject matter in as many different ways as we have found interpretations of the theme. In all ages clothes have been used as a marker of shame. In seventeenth century England and Scotland the branks, an iron muzzle with a bridle, often spiked and pressing down on the wearer’s tongue, was a common device used for punishment and public humiliation. We can read about the dunce cap in the 1840 novel The Old Curiosity Shop by Charles Dickens and a decade later Nathaniel Hawthorne gives a moving account of Hester Prynne in The Scarlet Letter, a woman in seventeenth century Puritan Boston, forced to wear the symbol of her crime stitched on her chest. We have seen the yellow Star of David and the pink triangle come and go as well as the striped and arrowed prison uniform, and not long ago we got used to spotting the orange Abu Ghraib jumpsuit on the backs of those detained at the Baghdad Correctional Facility. These are just a few examples we have come across; the list of garments associated with our shame is long and diverse.


Our topic is, however, not restricted to clothing and accessories created to specifically shame their wearer. The clothes we wear in our everyday life are also full of shaming potential; garments meant to protect and provide confidence often fall short and leave us feeling vulnerable and exposed. Imagine, for example, the embarrassment of being turned away at a fashion show in all your finery or of turning up at an important event and finding that someone else is wearing the same dress as you. Or go back to that time when you left the bathroom at your lover’s house, it was the first dinner with the parents, and your flies were undone. Or recall the moment that you, surrounded by friends, got out of the water only to discover that your new bathing suit had become completely transparent. Or maybe you remember when your favourite white trousers decided to turn on you and proclaim to the world that today you got your period. Fashion and clothing has this effect on us. It renders us self-conscious of our fashionable selves, or lack thereof, and the feeling of shame can surface all too easily when we see ourselves through the gaze of others. Fashion prompts us to judge ourselves and those around us. It forces us to face up to the shame of not belonging, the shame imposed on others for not dressing the part, the shame of not being able to participate in fashion because of a body type deemed ‘wrong’ or a wallet deemed too meagre.


The system and industry born to cater to our desires is as paradoxical as it is complex and few are the areas so often shamed by outsiders. Child labour, overproduction and consumption, narrow ideals of beauty and environmental damage are just a few of the sore points that concern those of us who love fashion. Yes, fashion is indeed a system that is easily condemned. Superficial, fickle, frivolous and indulgent – there are few invectives that have yet to be hurled at fashion. Conscientious fashion lovers have no doubt asked themselves many times over whether fashion as we know it could survive without the material abundance we have become accustomed to or the ideals we have created that at all times egg us on in our quest to always be better, brighter versions of ourselves. Fashion seems to revel in being the rebel – it is a zone where even the most level-headed among us allow ourselves to be bad, irrational and slightly wayward. Perhaps we need this area as a zone to break out of an otherwise strictly conditioned existence. Through fashion we can be guilty of inconsistencies and misdemeanours and permit our better selves a momentary rest. Fashion is an area where we are allowed to hang our heads in collective shame, where it often feels good to be bad. When Adam and Eve fell from grace they sewed their fig leaves before they did anything else – the shame of their nakedness had to be removed. As the children of Adam and Eve, we too have a lot to hide. Our lumps and bumps, both moral and physical, are our constant cause of shame, but, as Jean-Paul Sartre suggests in the quote on this issue’s bookmark, it is in this shame that we can unveil the most intimate aspects of our beings.


post #87 of 139


post #88 of 139
may be a long shot, nobody has Ideas from Massimo Osti ?

am gonna try to get a few more done tomorrow i think
post #89 of 139
Many of Them Vol II: Days of Being Wild
Limited to 1000 Worldwide

post #90 of 139
Guy from the cosmic wonder ones reminds me of an azn tween
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