Package design is one of the most dynamic and fast-evolving fields of design today. Featuring over 600 creations from more than 35 countries, this compact edition celebrates extraordinary work from the global packaging design community. Showcasing the winners of the Pentawards from the past decade, the world’s leading packaging design competition.

Drawn from the extensive holdings of the Staatliche Museen in Berlin, this collection of jewelry through the ages links cultures and eras to show how the design, wearing, and collecting of personal adornment has evolved over the ages. They range from classic items such as necklaces, rings and earrings to less common items with origins in non-European cultures. The book features jewelry, ranging from the splendid crowns of ancient Greece, gold earrings from Babylon and jewelled collars worn by 13th-century Islamic royalty to more modern pieces such as those contained in the imperial collection of Queen Louise of Prussia, Art Nouveau jewelry designed by Rene Lalique, and work by contemporary designers. This chronologically arranged survey includes numerous brief essays and 400 illustrations with detailed captions, making it an ideal reference for anyone interested in cultural history, the history of jewelry, or the art and craft of jewelry making.

The volume presents an extraordinary collection of jewels, jewellers and international maisons which, from the start of the twentieth century to the present day, have mirrored the changing taste worldwide. It is a global journey which takes us from France to Russia, from the United States to Italy, from Britain to Germany and from the Netherlands to Scandinavia. From the Art Nouveau masterpieces of Lalique, Vever and Fouquet to Art Deco elegance and the wonders of Cartier, Boucheron, Tiffany, Mario Buccellati and Fabergé. From the inventions of Van Cleef & Arpels and Bulgari in the 1950s to the Dutch avant-garde and the artist’s jewel of the 1960s, ending with illustrations of up-to-date and contemporary jewellery design. A brilliant historical-critical essay introduces a magnificent selection of pictures, designed to be an ideal gallery of masterpieces of twentieth-century jewellery, accompanied by technical explanations and an exhaustive glossary...

Working with his hands and small tools, Antonio Canova (1757–1822) produced dazzling sketch models in clay, which helped him plan his designs for his large statues in marble. More than 30 of his 60 or so surviving models reveal the artist’s extraordinary working process—a process that led to the creation of some of the most iconic works in the history of sculpture.

Exhibiting Antonio Canova: Display and the Transformation of Sculptural Theory argues that the display of Canova’s sculptures in the late eighteenth and early nineteenth centuries acted as a catalyst for discourse across a broad range of subjects. By enshrining his marble figures alongside plaster casts of ancient works, bathing them in candlelight, staining and waxing their surfaces, and even setting them in motion on rotating bases, Canova engaged viewers intellectually, physically, and emotionally. These displays inspired discussions on topics as diverse as originality and artistic production, the association between the sculptural surface, flesh, and anatomy, the relationship between painting and sculpture, and the role of public museums. Beholders’ discussions also shaped the legacy of important sculptural theories. They helped usher in their modern definitions and created the lenses through which we experience and interpret works of art, establishing modern attitudes not just towards sculpture, but towards cultural patrimony in general.

Elsa Schiaparelli (1890–1973) was the premier style arbiter of the 1930s—a favorite designer of women who made the best-dressed list, of female sports heroes, and of film and theater actresses. This comprehensive book accompanies the first major American retrospective of the work of this startling, groundbreaking Paris fashion designer.

Shocking! explores the Italian-born couturière’s career from its Modernist beginnings in the 1920s and its connections with Surrealism to the upheavals caused by war, the business struggles in the years that followed, and the closing of her salon in 1954. Author Dilys E. Blum examines in detail for the first time Schiaparelli’s impact on and relationship with the American fashion industry, which many considered the foundation of her great success. Her appeal stemmed in large part from the newness of her “architectural” silhouettes and the excitement generated by her many innovations. She used the latest materials in unconventional and unexpected ways, choosing “tree-bark” textured rayon for an evening gown, creating fastenings from boot clips, and positioning colorful plastic zippers to be seen rather than concealed. After 1935 Schiaparelli’s collections took on a new identity from themes developed from her own acerbic and quick-witted observations of the world around her. She also drew inspiration from her close relationship with the Paris avant-garde; she posed for Man Ray and collaborated with such artists as Jean Cocteau, Salvador Dalí, Alberto Giacometti, and Meret Oppenheim for designs of clothing, fabric, embroidery, jewelry, and advertising...

Born in 1895 in a remote fishing village in Spain, Crist bal Balenciaga learned sewing and tailoring at his mother’s knee. By 1937, the talented and persistent young man had opened his own design salon in Paris, and in the years following World War II he emerged as a designer to be reckoned with in the world of haute couture. The House of Balenciaga grew to serve an international clientele from locations in Paris, Madrid, and Barcelona, and from 1937 to its closing in 1968 created some of the most outstanding and innovative examples of French and Spanish haute couture of the era.
This beautifully illustrated book presents nearly 70 Balenciaga creations for day and evening, along with 25 hats, from the extraordinary archives of the Texas Fashion Collection of the University of North Texas. The book also includes striking fashion photographs from Vogue magazine and Harper’s Bazaar by Richard Avedon and Louise Dahl-Wolfe. A series of essays explores many aspects of the designer’s work, among them his contributions to fashion history; connections with such other prominent designers as Hubert de Givenchy and Oscar de la Renta; important relationships with Neiman Marcus and fashion buyer Bert de Winter in Dallas; and his close friend and client Claudia Heard de Osborne.

A beautifully illustrated overview of women’s undergarments from the 18th century to the present, with a focus on history, fashion, and craftsmanship

Lingerie is a subject of enduring fascination. As the final barrier to the fully nude body, it is simultaneously modest and erotic. This compelling and eye-catching publication surveys lingerie from the mid-18th century to the present, covering a broad range of foundation garments, intimate apparel, and lounging clothes—from bras and corsets to slips, peignoirs, and tea gowns. All pieces are gorgeously illustrated in color...

Every dress begins with a drawing, every skirt with a sketch. Illustration is an integral element of fashion design; a starting point for creation, a means of expressing the moods, emotions, and experiences carried by garments—yet is too often overlooked. Through stark tones and serendipitous smudges, fashion illustrators breathe life into trends and seasons.

In this new, compact edition, you’ll find works from 90 contemporary artists located all around the world, including Ruben Toledo, Aurore de La Morinerie, Bil Donovan, Tanya Ling, and Jean-Philippe Delhomme. Following an introduction by illustration expert Steven Heller, art and fashion historian Adelheid Rasche provides an in-depth exploration of clothing illustration, beginning in the 17th century and stretching forward to today...

Keserü Ilona, Kossuth- és Munkácsy-díjas festőművész és grafikus, a kortárs magyar művészet megkerülhetetlen alakja, 2023. november 29-én ünnepli 90. születésnapját. Ebből az alkalomból a Magyar Nemzeti Galéria a grafikai életműből – papíralapú műveiből, rajzaiból és sokszorosított grafikáiból – álló tárlattal tiszteleg a művész előtt. A válogatás több mint hét évtized papírmunkáit, a Martyn Ferencnél töltött tanulóévektől kezdve a vibráló szitanyomatokon át a lágy vonalú tusrajzokig ívelő pályát mutatja be. A kiállításon a művész budapesti műterméből válogatott 64 mű látható, köztük olyan alkotások is, amelyek még sosem szerepeltek korábban a nagyközönség előtt...

Magyarország a kezdetektől, 1895 óta vesz részt a Velencei Biennálén. Az önálló magyar nemzeti pavilon – az olasz és a belga pavilon után – a harmadikként épült meg a Giardiniben. Az 1909-ben átadott szecessziós épületet Maróti Géza (1875–1941) építész, szobrász- és iparművész tervezte, aki a megbízást az 1906-os milánói világkiállítás magyar pavilonja sikerének köszönhetően nyerte el.

A századelő Gesamtkunstwerk-törekvéseinek megfelelően a velencei kétszintes épület gazdag képző- és iparművészeti díszítést kapott. Díszítőrészleteit a Gödöllői Művésztelep művészei készítették: a mozaikokat Körösfői-Kriesch Aladár (1863–1920), az üvegablakokat pedig Nagy Sándor (1869–1950) tervezte. A bejárati fogadóteret Telcs Ede szobrászművész domborművei díszítették. A tető mázas cserepei, valamint a bejárat eozinmázas kerámiái a Zsolnay-gyárban készültek, az üvegablakokat és a mozaikokat Róth Miksa műhelye kivitelezte. A ház külső díszítése, ikonográfiai programja a hun-magyar közös múltat felidéző történeti szimbolika jegyében születtek...