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20 posts tagged "Rizzoli"

Ann Demeulemeester Returns! Sort of


Ann Demeulemeester

Though the wave of sadness felt after Ann Demeulemeester’s departure from her eponymous label endures, the fashion set should find some consolation come fall. Demeulemeester has announced that she’s penned a hardcover tome for Rizzoli, with a foreword by longtime fan Patti Smith, which is due out in October. (However—get excited—you can preorder it now). The book, promised to be “the first and highly personal perspective into the work and processes of Ann Demeulemeester,” will retail for $100 and boast more than one thousand images. Though spring’s only just arrived, we’ll be counting down the days till autumn.

Photo: via 

Boogie Down, Bookworms: A Studio 54 Tome Is in the Works


Halston, Bianca Jagger, and Mick Jagger at Studio 54

Word broke this morning that nightlife king Ian Schrager, the mind behind Studio 54, will partner with Rizzoli to share tales of the iconic club with a new coffee-table book, due out next year. As Schrager so pithily put it, “If the hunter does not tell the story, the lion will.” We can only hope that said hunter plans to air some juicy tales about Bianca and Mick.

Photo: Getty Images 

The Creative Force Behind an Extraordinary New Book on Veruschka Discusses Fashion Film, Fashion Egos, and Fashion Icons



A friend of mine likes to say that the name of the greatest art director in the world begins with an A—by which he means “A” for Accident. He insists that it is often a chance impulse or encounter that produces the most interesting work. Such is certainly the case with the latest project from Antonio Monfreda—another exceptional art director whose name begins with an A. At a dinner party in Rome, Valentina Moncada told Monfreda that she had discovered a cache of old photos taken by her father, Johnny. The cache in question, stored in dusty boxes, turned out to be three thousand early pictures of Vera von Lehndorff, the German model who would later come to be known to the world simply as Veruschka. A week later, Monfreda walked out of the offices of Rizzoli in New York with a book contract in hand. The resulting volume, Veruschka: From Vera to Veruschka, is a showcase for some very modern-looking sixties Italian fashions, Florence and Sardinia when they were still mostly undiscovered, and—above all—the transformation of Von Lehndorff from an angular young ingenue into the icon who would later entrance photographers like Avedon and directors like Antonioni. “She is the most mysterious model of the sixties,” says Monfreda, analyzing Veruschka’s appeal. “She has the kind of beauty that is chameleonic. It’s the same kind of quality you find nowadays in Kate Moss, the ability to transform in a very natural way in front of the camera.”

If serendipity played a part in the book, it has also been a theme in Monfreda’s career. He started out as an art dealer, but he was looking to switch to the creative side when he had a meeting of the minds with Patrick Kinmonth, the opera director, exhibition designer, and artistic polymath. In short order, Monfreda found himself in New York, codesigning the Anglomania show at the Costume Institute of the Metropolitan Museum. Together, he and Kinmonth have conceived and installed some of the most memorable fashion experiences of the past decade, including the museum exhibition that accompanied Valentino’s forty-fifth anniversary celebration in Rome and Making Dreams: Fendi and the Cinema, a magically immersive show that took over an abandoned theater in Milan last fall and that will be resurrected in New York next year. And how does Monfreda, who divides his time between Rome and London, deal with the outsize egos he must encounter in his line of work? “That’s a good question,” he says with a laugh. “But sometimes it’s not just a question of power or egoism or nonsense. Egos sometimes have good things to say, and I listen.”

Along the way, Kinmonth and Monfreda’s interest in filmmaking has grown, and they recently established their own production house, The Visual Clinic, to address the needs of their luxury clients. Monfreda believes they can bring a “new energy and a new vision” to the field. In other words, we can look forward to many more happy accidents in the future. In the meantime, enjoy this exclusive short film that accompanies the book (above) and a slideshow of photos from the book that traces Veruschka’s journey as she emerges from a world of black and white into vivid color.

Photo: Courtesy of Rizzoli

Did You Get The Memo? Diana Vreeland In Her Own Words


Memos: The Vogue Years

“Our cover situation is drastic…We are on the verge of a drastic emergency.” So reads the first entry in the latest Diana Vreeland tome, Memos: The Vogue Years. Compiled by Vreeland’s grandson Alexander (the husband of Lisa Immordino Vreeland, who directed The Eye Has to Travel), the book features more than 250 of Vreeland’s infamous notes from her time at Vogue, which she’d dictate over the phone to her secretary while puffing on cigarettes in a wicker chair in the bathroom of her Park Avenue apartment. This, Alexander told us, was her preferred mode of communication. “She didn’t believe in meetings,” he said. His assertion is backed up by Diana’s memo to the Vogue team on page fifty-nine, in which she considers holding a meeting about the “controversial” topic of dress lengths, but resolves, “Usually, when we have meetings, we don’t get ideas and views from people.”

But it wasn’t just her staff whom she’d confront about everything from the importance of pearls and bangles to her annoyance with the mistreatment of her initials in her editor’s letter (above), to the necessity that Vogue‘s spreads “never, ever copy…any kind of coiffure that is reminiscent of the 30s, 40s, 50s,” via her rapier dictations. The book—which is available now from Rizzoli—also includes her correspondences with the likes of Richard (or Dick, as she called him) Avedon, Irving Penn (to whom she complains about lackluster tulips), Cecil Beaton, Cristobal Balenciaga (above), Halston, Veruschka, and beyond. Continue Reading “Did You Get The Memo? Diana Vreeland In Her Own Words” »

Remembering Perry Ellis—the Man and the Brand


Archival looks from Perry Ellis

“Most people today think of Perry Ellis as a brand,” said menswear designer Jeffrey Banks, the co-author (with Doria De La Chapelle and Erica Lennard) of the new Rizzoli monograph, Perry Ellis: An American Original , of his late friend and colleague. “They don’t realize there was a real person named Perry Ellis. And that he was such an incredible influencer—he never followed other designers. He did what he believed in.”

The book, which will launch this evening alongside a one-night-only exhibition of Ellis’ finest designs at Parsons The New School For Design, traces the sportswear enthusiast’s all-too-short career (he died at age 46) with an aim to change that. A forward by former Perry Ellis designer Marc Jacobs (“When we talk to Marc, the one designer he ever idealized and wanted to be like and loved his clothes more than anyone was Perry Ellis,” recalled Banks) and never-before-published photographs from Lennard, who was Ellis’ campaign photographer, accompany Banks’ narrative.

The pieces on view at the show (a sneak peek of which debuts here) are a celebration of Ellis’ singular ability to push the aesthetic boundaries of sportswear classics. A hand-knit sweater emblazoned with a P for Perry (from Ellis’ first collection in which Princeton University cheerleaders danced down the runway) brings to life the moment the designer brought hand-knits into the high-fashion lexicon; a mohair dress and matching cape (“Perry always had amusing touches that were not silly, but fun,” remembered Banks) sits alongside a rich cashmere tunic in a graphic print inspired by French cubist artist Sonia Delaunay. Elsewhere, an oatmeal tweed jacket with Ellis’ signature dimple sleeves and an all-red suit for men (“It takes a gutsy man to wear a raspberry red tweed suit,” said Banks with a laugh) are on display. Each element of the show illustrates Ellis’ take on traditional, all-American sentiments—loosened up and ever-so-slightly irreverent.

“There was no compromise in his vision,” said Banks. Lennard continued, “He really had his own path. He was, to me, the only American designer of his time who was completely original. The other designers were looking at Europe. He had his own vocabulary.”

Photo: Samuel Bristow