Welcome to the 2019 edition of The Buyers' Guide. With 22 years of publishing this guide under their belts, South African Decor & Design are equally proud of all that has been and excited about all that is still to come. The Guide has grown progressively over the years with the recent launch of their new website, the establishment of their digital platforms, and the ever-popular blog ‘Marcia Loves It’ collectively facilitating positive change through innovation and creativity. Once again they have compiled a remarkable directory of over 3 000 key industry players, home décor specialists, interior designers, architects and lifestyle brands.

The Guide continues to facilitate networks between industry players and provide inspiration and valuable information to all our readers. As well as offering the latest trend inspiration, newest product collections and optimal brands, they also strive to be at the forefront of international exhibitions, events and shows, while embracing the rise of the social and digital spheres.

The choice of cover this year was inspired by all that is good about living in South Africa. We so often forget about the beauty of the country and are so inundated daily by all the negatives that go with living here that South African Decor & Design wanted to create a shout out for all the reasons why we do live here.

COMPETITION: When buying this book, inside you'll find details on how to enter and stand the chance to win a Bed and Bath makeover worth R 70,000.00, including sumptuous bedding from Sealy and bathroomware from Duravit.

With its distinctive Star, Golden Goose is a made in Italy fashion brand that is synonymous with excellent craftsmanship and cool, where imperfection is considered the point of strength and uniqueness. This book is a journey into the Golden personality, family and community, with interviews, stories and behind-the-scenes glimpses of its world of creativity, manufacture and authenticity. The book is formulated into three chapters: The Beginning of Our Journey, these first twenty years, with stories about Golden s employees; Friends and Fans, faces and people who love Golden Goose, from the art world to the music scene; A Glimpse into the Future, unveiling the projects to come, it s new approach to engagement with their lovers and the evolution into a digitally first brand. It is the Golden family s secret diary, where, page after page, the reader can encounter and enter into the Golden spirit and stories.

Xenia Danos' book contributes to the creation of a platform for education in the area of graphicacy and refocusing on visual learning. The foundation for the book is Xenia's literature review concerning the development of graphicacy in humans. Despite exploring over 2000 references, the prior research was limited in scope, but raised many potentially interesting points of departure. Ken Baynes puts this literature review in context with an opening essay on the significance of the visual in Western culture. He explores the role of graphicacy in cultural change, its role in establishing continuities, and particularly its significance for shaping the future through modelling and design. After discussing graphicacy in education, its development and progression, and relationship to students' learning, Xenia presents a new taxonomy that she designed primarily to facilitate the analysis of graphicacy across educational curricula, although it has wider application. Graphicacy is vital to an extraordinary range of human activities ranging from design to archaeology. It is a key medium for communicating ideas, information and proposals in everyday life. A feature of Xenia's book is a number of case studies demonstrating current graphic practice in professions as diverse as dentistry, psychotherapy and engineering. Taken together they serve to substantiate her argument for the use of graphic media as a means of learning and expression in education. The book's purpose is to get graphicacy on the educational agenda and it makes a powerful case. The book also provides a framework for more specialist forthcoming LDP titles that take the connection between graphicacy and design into related areas of practice and education.

Xenia Danos' book contributes to the creation of a platform for education in the area of graphicacy and refocusing on visual learning. The foundation for the book is Xenia's literature review concerning the development of graphicacy in humans. Despite exploring over 2000 references, the prior research was limited in scope, but raised many potentially interesting points of departure. Ken Baynes puts this literature review in context with an opening essay on the significance of the visual in Western culture. He explores the role of graphicacy in cultural change, its role in establishing continuities, and particularly its significance for shaping the future through modelling and design. After discussing graphicacy in education, its development and progression, and relationship to students' learning, Xenia presents a new taxonomy that she designed primarily to facilitate the analysis of graphicacy across educational curricula, although it has wider application. Graphicacy is vital to an extraordinary range of human activities ranging from design to archaeology. It is a key medium for communicating ideas, information and proposals in everyday life. A feature of Xenia's book is a number of case studies demonstrating current graphic practice in professions as diverse as dentistry, psychotherapy and engineering. Taken together they serve to substantiate her argument for the use of graphic media as a means of learning and expression in education. The book's purpose is to get graphicacy on the educational agenda and it makes a powerful case. The book also provides a framework for more specialist forthcoming LDP titles that take the connection between graphicacy and design into related areas of practice and education.

How do designers do what they do? How do architects, engineers, industrial, fashion and graphic designers think? What is it that goes on in their minds that enables them to shape the things that people buy, use and inhabit? And how far do they share their mental abilities with people at large? Is it true that everyone is a designer in their own way? In Design: Models of Change, Ken Baynes draws on a lifetime's research and experience to suggest answers to these questions. He uses the latest findings from neuroscience and evolutionary biology but also traces the story of designerly thinking back to the early days of homo sapiens sapiens and such momentous changes as the invention of cooking, the Enlightenment and the industrial revolution. Essentially the ability to design depends on the capacity of the human mind to make coherent causal models of our experience and the world. Using these cognitive models we remember the past, interact with the present and imagine the possibility of alternative futures. Design focuses on the future of material culture and so sets out to provide a favourable environment for the evolution of human society. So far so positive. However, Ken also identifies a malignant role played by design in the environmental, social and economic crises now facing the world. How can the energy and creativity of designerly thinking be directed to these key issues? A central aim of the book is to launch a debate on this topic which is crucial to the survival of homo sapiens sapiens.

How do designers do what they do? How do architects, engineers, industrial, fashion and graphic designers think? What is it that goes on in their minds that enables them to shape the things that people buy, use and inhabit? And how far do they share their mental abilities with people at large? Is it true that everyone is a designer in their own way? In Design: Models of Change, Ken Baynes draws on a lifetime's research and experience to suggest answers to these questions. He uses the latest findings from neuroscience and evolutionary biology but also traces the story of designerly thinking back to the early days of homo sapiens sapiens and such momentous changes as the invention of cooking, the Enlightenment and the industrial revolution. Essentially the ability to design depends on the capacity of the human mind to make coherent causal models of our experience and the world. Using these cognitive models we remember the past, interact with the present and imagine the possibility of alternative futures. Design focuses on the future of material culture and so sets out to provide a favourable environment for the evolution of human society. So far so positive. However, Ken also identifies a malignant role played by design in the environmental, social and economic crises now facing the world. How can the energy and creativity of designerly thinking be directed to these key issues? A central aim of the book is to launch a debate on this topic which is crucial to the survival of homo sapiens sapiens.

The product of intensive scholarly research, with exacting illustrations based on textiles in many different museums and private collections. The patterns, incorporating abstract and geometric forms as well as highly stylized images of flowers, plants, animals, birds and humans, represent more than 20 major Mexican Indian cultures, among them the Huichol, Otomi, Tepehua, Huasteco, Nahuatl, Mazatec, Tarahumara, Tepecano, Mestizo, Zapotec, Mixteco, Mazatec and Cuicatec.

This unchanged hardback edition of our richly illustrated publication walks the reader through the different aspects of printed textile design as a process and a profession. The intention of this book is to present an overall panorama of the world of printed textile design. The authors--both design school teachers responsible for textile design training at the prestigious fashion, textile and luxury goods design school, Francoise Conte (Paris, France)--describe the areas of activity and involvement of the textile designer to help the reader understand the ins and outs of the profession, especially within the fashion and the home sector. They pay special attention to current tendencies and offer an excellent insight on how to interpret trends, which is essential for making a living in this profession. The book also includes a presentation of the stages of project design, creation and execution.The featured projects provide the reader with outstanding explanatory case studies and exercises in every chapter. This textbook is a key aid for design teachers, students and young professionals. It also includes a highly useful list of schools, professional publications and organizations.

Design and Culture: A Transdisciplinary History offers an inclusive overview that crosses disciplinary boundaries and helps define the next phase of global design practice. This book examines the interaction of design with advances in technology, developments in science, and changing cultural attitudes. It looks to the past to prepare for the future and is the first book to offer an innovative transdisciplinary design history that integrates multidisciplinary sources of knowledge into a mindful whole. It shows design as a process that expresses goals through values and beliefs, functioning as a major factor in contemporary cultural life.Starting with the development of the Industrial Revolution, the book focuses on the evolution of design and culture in the twentieth century to predict where design will go in the future. Given the major social and political shifts currently unfolding across the globe, and the resulting changing demographics and environmental degradation, Design and Culture encourages collaboration and communication between disciplines to prepare for the future of design in a rapidly changing world.

Founded in 1989 and based out of Tokyo, United Arrows, with over 250 stores, is one of the most influential fashion and retail brands to ever come out of Japan. This book offers a fresh and comprehensive look at the brand and its evolution in becoming one of the most significant arbiters of street style and contemporary cool in the world. From opening their first shop in Shibuya (designed by Ricardo Bofill), United Arrows redefined the concept of the select shop the boutique, multibrand store exerting its influence on later retail pioneers like Colette and Dover Street Market. Highlighted within will be key collaborations between United Arrows and international brands from Nike to Adidas, New Balance to the North Face, to streetwear pioneers like A Bathing Ape and KITH, and standard-bearers of high fashion, like Comme des Garcons and Maison Martin Margiela alongside signature archival editorial photography.

The fashion and stores created by Elio Fiorucci in the late 1960s were a great creative hotbed for the following decades, anticipating many of the trends that emerged later and the ideas of the next generation of designers. Elio Fiorucci s innate curiosity led him to explore the unknown, to broaden his vision towards new currents of freedom of expression, beyond the borders of his country, in search of other energies. This book recalls his new, joyful, mocking, free realm, and the conception of unconventional clothing that upset the rules of the bourgeois, conformist world of the 1960s. It is a choral fresco, told through the letters of those who worked with him, including absolute beginners, professionals who knew him and shared his passions, family, and friends: architects such as Antonio Citterio and Michele De Lucchi, photographers, artists (Andy Warhol and Keith Haring, who decorated the entire Milan store in 1983), singers, and actors who attended his stores and parties. Direct testimonials come from the likes of Biba (Barbara Hulanicki), Oliviero Toscani, Donna Jordan, Terry Jones, Italo Lupi, Alessandro Mendini, Paul Caranicas and Joey Arias. The book also features a preface by Janie and Stephen Schaeffer, the current brand owners.

Bill Cunningham (1929-2016) embraced the colors, carefree beauty, and escapism of spring outings and summer parties as both a photographer and an astute fashion documentarian. His camera captured the showstopping hats and dresses worn by society ladies at the annual Central Park Conservancy luncheons, the gorgeous gowns sweeping the dance floors of tented galas in Newport and the Hamptons, and the authentic vintage outfits sported by young attendees at summertime jazz and swing-dance festivals. For decades, Cunningham s two weekly columns for the Times remained at the top of every fashionista s go-to list, presenting not only a comprehensive chronicle of the looks of the day but also an insider s view of the glamorous parties and philanthropic events that are part of the social whirl. This celebration of Cunningham s genius for capturing magical moments with extraordinary style provides a heartfelt insiders tribute to one of photojournalism s greatest legends.

Minimalism. Deconstruction. The rejuvenation of established houses. These are just a few of the concepts that have come to define 1990s fashion. Others include an increased concern with environmentalism, developing technologies and the beginning of the fashion internet, freewheeling historical references, and a predilection for lifting significant styles from other cultures (the issues raised by this borrowing are reviewed through a contemporary lens). In the twenty years since the decade ended, the fashion world has experienced several nineties revivals. Reinvention and Restlessness: Fashion in the 90s focuses specifically on designers who challenged the expected appearance or workings of high fashion, and who played an important role in laying the foundation for fashion of the twenty-first century, including: Tom Ford, John Galliano, Alexander McQueen, Marc Jacobs, Michael Kors, Martin Margiela, Stella McCartney, Helmut Lang, Jil Sander, Yohji Yamamoto, Rei Kawakubo, and Viktor and Rolf. Additional chapters address changes to fashion editorials and campaigns (under talents like Steven Meisel, Corinne Day, Inez and Vinoodh, Mark Borthwick, and Nan Goldin), a new theatricality to runway presentations, and the emergence of fashion theory as a field.

This book follows the phenomenal rise of Daniel Cottier (1838-91) from an apprentice coach painter in Glasgow to the founder of Cottier & Co., a fine and decorative arts business with branches on three continents. This gifted designer and brilliant art entrepreneur keenly spotted one of the key aspects of late 19th-century bourgeois culture-its focus on family, home, and church-and seized the artistic and commercial opportunities of the building and decorating boom that it brought about. Cottier was a proponent of Aestheticism, an international trend in the history of culture, art, and design from about 1860 to 1900: he understood the era's desire for beauty and realized the economic possibilities of its commoditization. Beyond biography, therefore, this book illuminates a significant event of late 19th-century cultural history- Aestheticism's cult of beauty meeting with the bourgeoisie's financial ability to possess it.