'Sometimes the movie knows you better than you know yourself, and you reveal your point of view about the world without ever even intending to.’ – Wes Anderson An archive is always a time-machine, but the archives of Wes Anderson take us on a journey not just through time, but through layers of stories and the experiences of storytelling – on paper and on film. This book is dedicated to these stories and celebrates Anderson’s over 30 years in cinema. From the start of his career, Anderson has maintained a rich library of notebooks, drawings, paintings, polaroids, props, puppets, sets, and costumes from his films. The objects shown here are enhanced and illuminated by Anderson’s long-time collaborators: Owen Wilson, Jason Schwartzman, Scarlett Johansson, Tilda Swinton; composer Alexandre Desplat; musician Seu Jorge; and music supervisor Randall Poster. Also included: an extensive interview with Anderson himself, reflecting on his films and working process. Wes Anderson: The Archives accompanies the first retrospective exhibition of Anderson’s work, curated by la Cinémathèque française in Paris and the Design Museum in London in partnership with Wes Anderson Edited by Johanna Agerman Ross, Matthieu Orléan and Lucia Savi.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of ''Made in Italy'' investigates Italy''s transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy''s first internationally attended fashion show in 1951 to Time magazine''s Giorgio Armani April 1982 cover story, which signalled the fashion designer''s international arrival, and Milan''s presence as the capital of ready-to-wear.Chapters focus for the first time on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country''s overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace.By looking at how things are made, by whom, and where, this book seeks to unpack the ''Made in Italy'' label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of ''Made in Italy'' investigates Italy''s transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy''s first internationally attended fashion show in 1951 to Time magazine''s Giorgio Armani April 1982 cover story, which signalled the fashion designer''s international arrival, and Milan''s presence as the capital of ready-to-wear.Chapters focus for the first time on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country''s overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace.By looking at how things are made, by whom, and where, this book seeks to unpack the ''Made in Italy'' label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of ‘Made in Italy’ investigates Italy’s transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy’s first internationally attended fashion show in 1951 to Time magazine’s Giorgio Armani April 1982 cover story, which signalled the fashion designer’s international arrival, and Milan’s presence as the capital of ready-to-wear.Chapters focus on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country’s overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace.By looking at how things are made, by whom, and where, this book seeks to unpack the ‘Made in Italy’ label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.

"... This volume is a perfect fit for mood boards, forward-looking conversations, and stories about the bags that have continued to drive style conversations for decades." — La RepubblicaBags: The Classic Collection is an unmissable celebration of the most iconic and influential handbags in history.Featuring 30 of the world’s most desirable models, this supremely elegant volume takes you on a journey through luxury, fashion and design, exploring the aesthetic world of each featured bag through stunning photos and revealing design stories. Each of the featured handbags has transcended the functional and even the fashionable to become a bona fide status symbol in its own right. From the Hermès Kelly to the Fendi Baguette, the Chanel 2.55 to the Balenciaga Motorcycle bag, each is defined by a unique vision, and each has impacted the cultural landscape in its own special way.Written by Lucia Savi of London’s Design Museum, this is a luxuriously illustrated guide to the historical contexts and aesthetic philosophies that make each of these handbags utterly timeless.The bags: Chanel 2.55; Mulberry Alexa; Givenchy Antigona; Anya Hindmarch I’m NOT A Plastic Bag; Roberta di Camerino Bagonghi Bag; Fendi Baguette; Gucci Bamboo; Issey Miyake Bao Bao; Hermès Birkin; Chanel Boy; Bottega Veneta Cassette; Jacquemus Chiquito; Balenciaga City Bag; Alexander McQueen Knuckle Clutch; Gucci Dyonysus; Stella McCartney Falabella; Prada Galleria; Louis Vuitton Graffiti Keepall Bag; Gucci Jackie; Hermès Kelly; Dior Lady; Céline Luggage Bag; Lulu Guinness Florist's Basket; Prada Nylon Vela Backpack; Chloé Paddington; Loewe Puzzle Bag; Dior Saddle; Louis Vuitton Speedy; Judith Leiber Handbags; Cupcake Bag; Launer Traviata

'Sometimes the movie knows you better than you know yourself, and you reveal your point of view about the world without ever even intending to.’ – Wes Anderson An archive is always a time-machine, but the archives of Wes Anderson take us on a journey not just through time, but through layers of stories and the experiences of storytelling – on paper and on film. This book is dedicated to these stories and celebrates Anderson’s over 30 years in cinema. From the start of his career, Anderson has maintained a rich library of notebooks, drawings, paintings, polaroids, props, puppets, sets, and costumes from his films. The objects shown here are enhanced and illuminated by Anderson’s long-time collaborators: Owen Wilson, Jason Schwartzman, Scarlett Johansson, Tilda Swinton; composer Alexandre Desplat; musician Seu Jorge; and music supervisor Randall Poster. Also included: an extensive interview with Anderson himself, reflecting on his films and working process. Wes Anderson: The Archives accompanies the first retrospective exhibition of Anderson’s work, curated by la Cinémathèque française in Paris and the Design Museum in London in partnership with Wes Anderson Edited by Johanna Agerman Ross, Matthieu Orléan and Lucia Savi.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of ''Made in Italy'' investigates Italy''s transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy''s first internationally attended fashion show in 1951 to Time magazine''s Giorgio Armani April 1982 cover story, which signalled the fashion designer''s international arrival, and Milan''s presence as the capital of ready-to-wear.Chapters focus for the first time on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country''s overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace.By looking at how things are made, by whom, and where, this book seeks to unpack the ''Made in Italy'' label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of ''Made in Italy'' investigates Italy''s transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy''s first internationally attended fashion show in 1951 to Time magazine''s Giorgio Armani April 1982 cover story, which signalled the fashion designer''s international arrival, and Milan''s presence as the capital of ready-to-wear.Chapters focus for the first time on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country''s overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace.By looking at how things are made, by whom, and where, this book seeks to unpack the ''Made in Italy'' label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of ‘Made in Italy’ investigates Italy’s transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy’s first internationally attended fashion show in 1951 to Time magazine’s Giorgio Armani April 1982 cover story, which signalled the fashion designer’s international arrival, and Milan’s presence as the capital of ready-to-wear.Chapters focus on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country’s overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace.By looking at how things are made, by whom, and where, this book seeks to unpack the ‘Made in Italy’ label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.

"... This volume is a perfect fit for mood boards, forward-looking conversations, and stories about the bags that have continued to drive style conversations for decades." — La RepubblicaBags: The Classic Collection is an unmissable celebration of the most iconic and influential handbags in history.Featuring 30 of the world’s most desirable models, this supremely elegant volume takes you on a journey through luxury, fashion and design, exploring the aesthetic world of each featured bag through stunning photos and revealing design stories. Each of the featured handbags has transcended the functional and even the fashionable to become a bona fide status symbol in its own right. From the Hermès Kelly to the Fendi Baguette, the Chanel 2.55 to the Balenciaga Motorcycle bag, each is defined by a unique vision, and each has impacted the cultural landscape in its own special way.Written by Lucia Savi of London’s Design Museum, this is a luxuriously illustrated guide to the historical contexts and aesthetic philosophies that make each of these handbags utterly timeless.The bags: Chanel 2.55; Mulberry Alexa; Givenchy Antigona; Anya Hindmarch I’m NOT A Plastic Bag; Roberta di Camerino Bagonghi Bag; Fendi Baguette; Gucci Bamboo; Issey Miyake Bao Bao; Hermès Birkin; Chanel Boy; Bottega Veneta Cassette; Jacquemus Chiquito; Balenciaga City Bag; Alexander McQueen Knuckle Clutch; Gucci Dyonysus; Stella McCartney Falabella; Prada Galleria; Louis Vuitton Graffiti Keepall Bag; Gucci Jackie; Hermès Kelly; Dior Lady; Céline Luggage Bag; Lulu Guinness Florist's Basket; Prada Nylon Vela Backpack; Chloé Paddington; Loewe Puzzle Bag; Dior Saddle; Louis Vuitton Speedy; Judith Leiber Handbags; Cupcake Bag; Launer Traviata