Patrick Mauriès - Böcker

‘This is your new fashion bible’ IdWith 2.5 million copies in print, each cloth-bound volume in the official and authorized Catwalk series is produced in close collaboration with the world's top fashion houses. These treasure troves of inspiration are must-have references for all fashion fans and professionals.The best-selling Chanel Catwalk was the first book to gather every Chanel collection ever created by Karl Lagerfeld in a single volume. Now fully updated to include Lagerfeld’s final collections for the house and those of his right-hand and successor, Virginie Viard, this revised edition includes twenty-eight new collections. This definitive publication features a concise history of Karl Lagerfeld and Virginie Viard’s time at Chanel as well as brief biographical profiles of each designer. The collections (from Haute Couture and Ready-to-Wear to Cruise and Métier d’arts) are organized chronologically. Each one is introduced by a short text unveiling its influences and highlights and illustrated with carefully curated catwalk images, showcasing hundreds of spectacular clothes, details, accessories, beauty looks and set designs – and of course the top fashion models who wore them on the runway. A rich reference section, including an extensive index, concludes the book.

The first publication dedicated to Karl Lagerfeld's glamorous homes, known for their eclectic interiors, ranging from the Art Deco to the ultramodern. While Karl Lagerfeld was famous for being at the very centre of the fashion industry for over half a century, he was equally opinionated when it came to interiors, which acted as a private creative outlet alongside his fashion designs. Following an overview by Patrick Mauriès, each house is introduced by a short text by Marie Kalt unveiling its history and identifying key designers and pieces. The homes are documented by date, beginning with rare photography of Lagerfeld’s early addresses in the 1960s and 1970s, through to his final house purchase in 2009. From the elegant Art-Deco inspired apartment in Saint-Sulpice, Paris, to the incredibly ornate 18th-century mansion, Hôtel Pozzo di Borgo (his muse and collaborator Amanda Harlech described Lagerfeld as having ‘a Versailles complex’) – Lagerfeld’s houses reveal he was a collector of a Renaissance scale, and showed spectacular range in his decorating styles. Lagerfeld would balance the old with the new, humorously describing the minimalist decor of his 200-year old apartment in Quai Voltaire, Paris as ‘like floating in your own spaceship over a very civilised past’, and moved from one atmosphere to the next, leaving a Memphis-designed apartment in Monte Carlo for a Grand-Tour themed Roman pied-à-terre, followed by bucolic French country houses and even a majestic Nordic villa in his native Hamburg. Presented in a large, elegant format, Karl Lagerfeld: A Life in Houses will be a rich source of inspiration for those interested in interior design, and will appeal to fans of the decorative arts and the fashion designer himself.

The most famous embroidery house in the world, Maison Lesage has collaborated with the greatest names in the history of fashion, from Madeleine Vionnet, Elsa Schiaparelli, Cristóbal Balenciaga and Christian Dior to Yves Saint Laurent, Hubert de Givenchy and, of course, Chanel, which counts Lesage as one of its Métiers d’Art ateliers. Illustrated with specially commissioned photography of Maison Lesage’s historic creations and illuminated with texts by Patrick Mauriès, Maison Lesage is both a tribute to exceptional craftsmanship and a journey through 100 years of fashion at its most sumptuous and inventive.

This is the third book in a series devoted to the splendid jewelry collection of the Musée des Arts Décoratifs in Paris. Following on from Flora and Fauna, the theme this time is the human figure, perhaps the most intimate and involving of subjects. Jewelry has always been a vehicle for the deepest of human emotions: remembrance, faith, devotion, love, belonging and mourning. The museum’s collection begins in the Byzantine era and ranges through the medieval and Renaissance periods and beyond, with mythological figures and biblical scenes represented on pendants and rings. In the 19th century, René Lalique, Alphonse Fouquet and the Maison Vever produced brooches and necklaces that were the very embodiment of elegant sophistication and technical brilliance, while in the 20th century, artists such as Pablo Picasso and Alberto Giacometti joined jewelers like Jean Lurçat, Line Vautrin and Claude Lalanne in creating works that interpret the body in a deeply personal way. Wonderfully photographed by Jean-Marie del Moral, Figures is packed with striking and witty works of art that will charm all lovers of jewelry.

All knowledge, the cosmos arranged on shelves, in cupboards, or hanging from the ceiling, ‘infinite riches in a little room’ – such were the cabinets of curiosities of the 17th century. This survey, now available in a compact edition, traces the amazing history of cabinets of curiosities, from their first appearance in the inventories and engravings commissioned by Renaissance nobles such as the Medici or the Hapsburgs, via those of the Dane Ole Wurm and the Italian polymath Athanasius Kircher, to the serious 17th- and 18th-century scientists Elias Ashmole and Levinas Vincent.

French couturière Coco Chanel has achieved legendary status across the world and continues to captivate young generations of fashion fans who eagerly collect and share her quotes, creations and insights. A close friend of some of the leading wits and writers of her days (from Jean Cocteau to poet Pierre Reverdy), Coco Chanel was fierce and uncompromising in her pronouncements on fashion (‘Some people think luxury is the opposite of poverty. It is not. It is the opposite of vulgarity’; ‘Elegance is refusal’; ‘Fashion changes, but style endures’), women (‘A woman who doesn’t wear perfume has no future’; ‘Dress shabbily and they remember the dress; dress impeccably and they remember the woman’) and life (‘The best things in life are free. The second-best are very expensive’). Much like her successor, Karl Lagerfeld, she never shied away from controversy, declaring one day of her detractors: ‘I don’t care what you think about me. I don’t think about you at all’. Presented in a beautiful package and accessible format, The World According to Coco is the perfect gift for fans of fashion in general and Chanel in particular.

An elegant collection of Christian Dior’s maxims on style, women and inspiration, presented in a fashionable gift format. Credited with creating some of the most luxurious and spectacular haute couture pieces of all time, Christian Dior became a fashion icon overnight in 1947 with the launch of his ‘New Look’ - sumptuous hourglass silhouettes that provided a welcome tonic to the austerity of wartime. Its wild success, and the global fame that ensued, was built on the designer’s subtle understanding of fashion, couture, style, elegance and women - a perspective and insight best revealed in Dior’s own words, which are gathered here for the first time. Rightly described as the ‘Designer of Dreams’ in the recent blockbuster exhibition on the house of Dior that attracted millions of visitors the world over, Christian Dior was an unrivalled arbiter in the world of high fashion. Dior was generous with his advice on all things, from style and how to dress (‘No elegant woman follows fashion blindly’, he once declared), to his insights into the creative process, invaluable for any budding designer. Presented in a beautiful package and accessible format, The World According to Christian Dior is the perfect gift for fashion fans, publishing on the occasion of the house’s 75th anniversary.

A stylish collection of legendary designer Yves Saint Laurent’s maxims on fashion, craft, women and inspiration, presented in an attractive gift format. Founded by Yves Saint Laurent and Pierre Bergé in 1962, shortly after the young couturier left his post at the helm of Christian Dior, Yves Saint Laurent would soon become one of the most successful and influential haute couture houses in Paris. Introducing Le Smoking, the first tuxedo suit for women, in 1966, Saint Laurent also presented iconic art-inspired creations, from Mondrian dresses to precious Van Gogh embroidery and the famous Ballets Russes collection. The designer put the women who wore his clothes first (‘What’s most important in couture is the body we dress, the woman we dress, more so than the ideas we might have’) and was determined to change attitudes of the era (‘Fashion’s purpose was not only to make a woman look beautiful, but also to reassure them and to give them confidence’). He could be critical of the fashion industry (‘I adore clothes but I hate fashion’) and saw himself as a craftsman who perfectly understood his customer (‘I think there are three kinds of designers. The big ones, the real ones, and those who know how to strike a chord with a woman just by making a very simple dress, or a very simple suit’). Presented in a beautiful package and accessible format, The World According to Yves Saint Laurent is the perfect gift for fashion fans, capturing the essence of a true visionary.

The first substantial book on the French Neo-Romantics, a cosmopolitan group working in 1920s Paris who turned against modernist abstraction in favour of a new form of figurative painting. In 1926, the Galerie Druet in Paris made waves presenting a group of young painters who had spurned modernist abstraction and returned to a form of figurative painting. For most of them this was the first time they had exhibited, but their impact was considerable. Art critic Waldemar George baptized them the ‘Neo-Romantics’ or the ‘Neo-Humanists’. They were influenced by Picasso, in particular his Blue and Rose periods, but went beyond him to forge new ways of painting. These were artists who liked to play with forgotten references and obsolete visual devices such as trompe l’oeil. They produced work for secondary art forms including the theatre, set design and ballet. In some ways they were the first post-modernists in the history of art, yet until now there has only ever been one book about them, After Picasso, published ten years after their exhibition. Only more recently has their influence on contemporary artists and thinkers including Max Jacob, George Hugnet and Gertrude Stein been recognized. Though friends, these painters never formed a formal group or movement. The Second World War sent them on different paths, with the Berman brothers and Tchelitchev moving to the United States. Before their departure, however, their activities attracted the attention and admiration of a cosmopolitan group of characters, including Gertrude Stein, Alfred Barr, Lincoln Kirstein, George Balanchine and many others including leading fashion figures of the day, Christian Dior and Elsa Schiaparelli.

Originally published to accompany the recent, hugely successful exhibition at the Musée de la Mode et du Textile in Paris, which Christian Lacroix styled and co-curated, this book draws on the Museum’s staggering archives to tell the story of fashion from the 18th century to the present day, as seen through Lacroix’s inimitable eye. It also juxtaposes the collections with the most significant designs from Lacroix’s own career, bringing to light the fundamental stylistic and formal principles that make up the history of fashion.

Goossens is one of the most prestigious names in haute couture jewelry of the last half century. Robert Goossens worked with Coco Chanel in the 1950s, and went on to design jewelry for the world’s foremost fashion houses, pursuing notable collaborations with Balenciaga, Grès, and Yves Saint Laurent. As well as the emblematic rock crystal jewelry, baroque pearl brooches, and Byzantine cuffs famously associated with Chanel, Maison Goossens’ designs combine real and faux gemstones, making fashion jewelry both precious and bold at once. Robert’s son, Patrick, has reimagined many original Goossens styles, for Dior, Alexander McQueen and Louis Vuitton among others. Martine, his daughter, collaborates regularly with architect Peter Marino to decorate the interiors of the most famous couture houses in the world. Maison Goossens is now part of the stable of exceptional craft practitioners owned by Chanel’s Paraffection subsidiary.

The fashion world has long been celebrated for its scintillating salon wit. The sharpest tongues and quickest repartee have always sprung from the lips of fashion royalty. From Oscar Wilde to Miuccia Prada, fashion’s words of wisdom have become our daily bread.Fashion Quotes presents hundreds of the snappiest quotations from over three centuries, from the society beaux of the 18th century and the literary wits of the 19th century, to the celebrity elite of the 20th century and today’s hippest twitterati. Christian Lacroix has gilded the pages with creative inspiration, his illustrations perfectly expressing the colour and panache that we expect of fashion’s finest. The collection is divided into quotations from different spheres, including: Elegance, Shoes, Dressing up, The Little Black Dress, Dandyism, Eros, Eccentricity, Models, Vanity.Fashion Quotes will be the must-have gift for every fashionista and aspiring wit, or for anyone looking for the ultimate smart put-down, cheeky pick-me-up, whip-crack wisdom or poisonous punchline.

Representing the third generation of Vuittons, Gaston-Louis’s wide interests and voracious curiosity were intimately bound with the future of the family business. A collector since his childhood, Gaston-Louis Vuitton (1883–1970) accumulated hundreds of objects over his lifetime. In addition to forming a collection of trunks – his first motivation and the one he announced publicly – his roving eye lit upon rare antique travel articles, locks and escutcheons, hand tools, perfume bottles, African masks, walking canes, vintage children’s toys, books, hotel labels (usually fixed on customers’ trunks), printed monograms and other typographical rarities. Together they form a rich personal evocation of curiosités industrielles, or quirks of the trade, as Gaston-Louis liked to call them. He described himself as an ‘unrepentant collector’, delighted by the ‘joy of the treasure hunter, the toil of the collector, […] an inexhaustible source of inspiration’. This is a collection that will capture the imagination of anyone inspired by bizarre and eclectic curiosities, or those with an interest in the cultural taste and interests of someone who lived through the height of the Art Deco period – indeed, someone whose life was defined by the rigours and the rewards of world travel. It exhibits the highest design and production values for discerning international voyagers in search of the sources of luxury creativity.

‘This ad is gender neutral’, proclaimed a 2016 poster for the fashion brand Diesel; ‘I resist definitions’, announced a Calvin Klein ad in the same year, while a Louis Vuitton shoot featured Jaden Smith, son of actor Will Smith, wearing a skirt like a natural. Fashion magazines have printed countless features on the blurring of gender barriers, while brands including Yves Saint-Laurent, Gucci, Burberry, Givenchy and Dolce & Gabbana have all interpreted the concept ‘girls will be boys and boys will be girls’ in their own individual style. The previous turn of the century was as obsessed with androgyny as this one, as seen in the art of Edward Burne-Jones and Gustave Moreau, and the writings of Oscar Wilde and the mystic Joséphin Péladan. From the late 19th to the early 21st century, the genders have blended: from Berlin in the 1920s to Hollywood of the 1930s with Garbo to Dietrich; from the 1940s Bright Young Things to the androgynous pop stars of the 1970s, and beyond. What do these variations on a theme have in common? What has caused the dizzying rise of androgyny? Why has this concept, a staple of ancient myth that was first discussed in Plato’s Symposium, been revived today? Accompanied by a striking selection of contemporary photographs, Patrick Mauriès presents a condensed cultural history of androgyny, drawing on the worlds of art and literature to give us a deeper understanding of the strange but timeless human drive to escape from defined categories.

When Karl Lagerfeld was named at the helm of the fashion house in 1983, he set out to radically shake up and update its image – not only through bold collections but also, from 1987 onwards, by choosing to shoot the house’s campaigns himself, a move that was unprecedented for a fashion designer.Conceived in collaboration with Karl Lagerfeld and the House of Chanel, this definitive publication opens with an essay by Patrick Mauriès before exploring the campaigns themselves, organized chronologically. A carefully curated selection of images showcases hundreds of spectacular clothes worn by the top fashion models – and personalities – of each era, from Inès de la Fressange, Claudia Schiffer, Kate Moss and Cara Delevingne, to Kirsten Stewart and Lily Rose Depp, captured in glamorous locations, from Coco Chanel’s Paris apartment to the French Riviera or LA. Presented in a high-end, slipcased package, Chanel: the Karl Lagerfeld Campaigns offers an unrivalled overview of the house of Chanel as seen through the eyes – and lens – of Karl Lagerfeld himself.

The animal kingdom has been a source of inspiration for jewelers since the days of antiquity. Chosen for their symbolism, their beauty or their personality, a whole menagerie of creatures has been depicted in gemstones and precious metals, ranging from fantastical dragons, griffins and sphinxes, to wild beasts such as boars and big cats, to the delicate forms of birds, fish and even insects. The 130 pieces in this book have been specially selected from the magnificent jewelry collection of the Musée des Arts Décoratifs in Paris, and include necklaces and earrings, bracelets and brooches by legendary names such as Boucheron, Falize and Lalique. They stretch from the Renaissance revival of the 19th century to the elegant lines of Art Nouveau and beyond, through to the playful naivety of modernist designs by Jean Lurçat and Line Vautrin. Beautifully photographed by renowned photographer Jean-Marie del Moral, this second title in the series that began with Flora: The Art of Jewelry is packed with clever and witty works of art that will delight all lovers of jewelry and nature.

An exclusive homage to – and retrospective of – the iconic fashion designer's couture accessories.‘One can never overstate the importance of accessories. They are what turns a dress into something else. I like dresses to be sober and accessories to be wild’ – Yves Saint Laurent, 1977.Yves Saint Laurent Accessories is the first book to date to shed light on the breathtaking accessories created by one of the most influential fashion designers of all time. From his first collection in 1962 to his acclaimed final presentation in 2002, Yves Saint Laurent created exquisite jewellery, hats, shoes, and handbags to complement and enhance each of his couture creations.Beautifully designed, in a small format evocative of a jewellery box, the book offers an unprecedented glimpse into the highly confidential archives of The Yves Saint Laurent Foundation in Paris, which is home to over 20,000 remarkable accessories.The book features specially commissioned photography of the accessories alongside a treasure trove of rare materials including preparatory sketches, intimate portraits of Saint Laurent at work, behind-the-scenes snapshots of models, catwalk photographs, and advertising campaigns.Yves Saint Laurent Accessories introduces readers to a prominent yet rarely seen side of Saint Laurent's art, leading them backstage and through the history of a house that helped to shape the course of fashion.

Presenting the love-themed designs created by fashion designer Yves Saint Laurent for his friends and collaborators, this beautifully produced edition is a perfect gift: stylish, heartfelt, and visually unforgettableIn 1970, Yves Saint Laurent created the first in a series of poster-like greeting cards he sent each year to friends, collaborators, and clients.For the next thirty-eight years, until his death in 2007, Saint Laurent designed bespoke compositions using collage, drawing, gouache, and bold, varied color palettes. While many of these works were inspired by Morocco—where he often created them—they also reflect the influence of artists, such as Georges Braque, Jean Cocteau, Andy Warhol, and Henri Matisse.Each card is a unique, striking, and personal expression of the legendary designer’s imagination. What unites them is the word “LOVE,” always featured somewhere in the design.This updated edition of Yves Saint Laurent: LOVE includes a brand-new layout with 16 additional pages, captions that provide insight into Saint Laurent’s life, a luxuriously stunning cover, and an introduction from Maxime Catroux, Saint Laurent’s goddaughter and the vice president of the Yves Saint Laurent Museum. The foreword by French fashion writer Patrick Mauriès, which accompanied the original book, remains.Together, the vivid imagery and the text written by those close to Saint Laurent form a meditation on love that is a treat for the eye as well as the heart.