Tom Ford an American fashion designer, filmmaker, perfumer, etc. Ford brings a hard-edged style synonymous with 21st century glamour to his clothes. He is a fashion icon and anything he touches makes lots of money for the fashion houses he manages. We just received a massive book on the history of his collections that highlights the best of Tom Ford’s years at Gucci and YSL.
Ford transformed Gucci from a dull seen its day accessories house into a powerhouse of fashion. In 1994 he took the dying fashion house and introduced velvet hip hip-huggers paired with skinny bright satin shirts. The images of model Amber Valletta and Madonna wearing these suggestive pieces are iconic to Ford’s collection.
In 1995, Ford, stylist French stylist Carine Roitfeld and photographer Mario Testino created an ad campaign that increased Gucci’s sales 90%. Tom Ford brought the almost bankrupt Gucci to be valued at $10 billion when he left in 1999. He went on to be Creative Director for YSL, created YSL fragrances like Opium with the usual sexualized ad, and his own White and Black Orchid scents.
This book is a complete catalog of Ford’s design work for both Gucci and Yves Saint Laurent from 1994 to 2004 and was created with cooperation with Ford. It is Ford’s testament to a career full of reinventing the boundaries of style and sensuality in clothing.
Click below for the book.
Today is the 70th anniversary of nylon stockings. On May 15, 1940, nylon stockings were available for the first time at Gimbels Department Store. Who remembers Gimbels?
Read more here.
Get the book in the Arts Division by clicking on the image above.
The Met’s spring 2013 Costume Institute exhibition, PUNK: Chaos to Couture, will examine punk’s impact on high fashion from the movement’s birth in the early 1970s through its continuing influence today. Featuring approximately one hundred designs for men and women, the exhibition will include original punk garments and recent, directional fashion to illustrate how haute couture and ready-to-wear borrow punk’s visual symbols.
Focusing on the relationship between the punk concept of “do-it-yourself” and the couture concept of “made-to-measure,” the seven galleries will be organized around the materials, techniques, and embellishments associated with the anti-establishment style. Themes will include New York and London, which will tell punk’s origin story as a tale of two cities, followed by Clothes for Heroes and four manifestations of the D.I.Y. aesthetic—Hardware, Bricolage, Graffiti and Agitprop, and Destroy.
Presented as an immersive multimedia, multisensory experience, the clothes will be animated with period music videos and soundscaping audio techniques.
The catalog for the show is on order in the Arts Division.
Books on Punk and Fashion
Two new fashion books have arrived in the Art Division. One covers the glamorous world of 1920s fashion and the other celebrates the role the fashion editor has played at Vogue for 120 years.
Vogue: The Editor’s Eye, retraces the work of Vogue’s legendary fashion editors including Pally Mellen, Babs Simpson, and Grace Coddington. These women collaborated with photographers, designers and stylists to create the fantasy world (for most of us anyway) of fashion. The book focuses on Vogue‘s dazzling archive of images that have had an impact on fashion, music, and culture. This book is lavish in its design and photographs. These editors had and still do have a vision when it comes to presenting the world of high fashion.
The 1920s was one of the most stylish and influential fashion periods full of feathers, beads, sequins, and anything to over indulge in. After all this was a time of highly decorated Erte dresses and Art Deco.
Dressed to Kill: Jazz Age Fashion, brings us into that legendary elegant world of the 20s. This collection of photographs comes from Virginia, the most fabulous renowned antique clothing store in London. Many stylists, designers, models and museums use this store as their go to place for dresses, coats, and accessories from this time period. All are carefully preserved offering inspiration from this glittering time to all who are looking for the craftsmanship and ornamentation of this important fashion period. This is a lavish book, full of exquisite photographs. Indulge!
A new exhibit at the Metropolitan Museum of Art celebrates fashion, art and their love of fashion in 19th century Paris. This exhibit illustrates how artists such as Monet, Seurat, Degas, and other Impressionists responded to fashion between the 1860s and mid-1880s. With both masculine and feminine attire exhibited we see the dialogue between art and fashion of the late nineteenth-century Parisian looks that inspired art of the day.
Fashion between those years was at its most beautiful. Opulent fabrics, the corset, tiny waists, stripes, gloves, bustles, and bows, all raised femininity to its highest. This was a pivotal time period for fashion and for Paris when the city emerged as a fashion mecca.
During these years Parisians saw a radical change in their city. Broad new avenues were places to be seen and the department store came into vogue. Ready-to-wear was suddenly available and the proliferation of fashion magazines allowed urban dwellers to see what they could expect in the new shops that were opening along these boulevards. Paris was a place to be seen and with so many choices the bourgeois women might change her outfit up to eight times a day.
As women and men began to look their best artists of the time period began to paint them in their high fashions. The mood portrayed by the Impressionists was one of vibrancy and seductive beauty with tightly corseted waists and elaborate decolletes that were on display in ballrooms and at the opera. An almost party like atmosphere was on display in art at this time. That atmosphere can be seen in Monet’s painting Luncheon on the Grass and in Jean Beraud’s An Evening Soiree.
Claude Monet (1840-1926)
Luncheon on the Grass
Jean Beraud An Evening Soiree
In Bartholomé’s In the Conservatory, he painted his wife standing in a sunlight conservatory wearing a tightly corseted light summer frock. This exhibit pairs Bartholomé’s this life-size portrait portrait of Prosperie de Fleury Bartholomé in her purple striped dress with the actual dress she posed in.
Artists such as Manet and Degas shared an interest in shopping and both admired seeing the man as Dandies in their dark suits or frock coats and cuffs. This look contrasted with the opulence of the female companion’s attire. Monet particularly transferred this interest into his brightly colored paintings full of women and men both smartly dressed.
Some highlights of this exhibition include Monet’s Luncheon on the Grass (1865–66) and Women in the Garden (1866), Bartholomé’s In the Conservatory(circa 1881, paired with the sitter’s dress), and Degas’s The Millinery Shop(circa 1882–86) from the Art Institute of Chicago; Renoir’s The Loge (1874) from The Courtauld Gallery, London; and Cassatt’s In the Loge (1878) from the Museum of Fine Arts, Boston.
The Art Division has a large selection books about this time period as seen below. This is just a sample sample of what we own. Click on image to access our catalog.