A vibrant look at the celebrated artist and designer KAWS. This comprehensive monograph explores KAWS's art career in depth, from his early street art interventions to his recent send-ups of familiar cultural icons. With wit, irreverence, and even affection, KAWS takes infamous entertainment characters such as the Simpsons and the Smurfs and traps them in plastic blister packages while reinterpreting their appearance. The packaged "Kimpsons" and "Kurfs" are new types of hybrid artworks that both serve and criticize contemporary consumer culture. Also featured is KAWS's astute and prolific body of commercial work, including apparel from his Japanese store OriginalFake, a partnership with Medicom Toy, as well as product design, limited-edition toys, graphic designs; collaborations with architect Masamichi Katayama and artists Hajime Sorayama, Todd James, and Mark Dean Veca; collaborations with companies including Comme des Garcons, Levis, Lucas Films, The Simpsons, Nike, Supreme, and Marc Jacobs; and Japanese companies such as A Bathing Ape, Undercover, and Visvim.

Fifty-six international designers and architects celebrate the Hogan label's most recent collections. There is an obvious connection between the different forms of creative expression: this is the core philosophy Hogan, expressed in the Future Roots project in which 56 internationally famous designers and architects are captured in Ornella Sancassani's photographs wearing the most recent collections designed by the fashion label. The black-and-white photographs interpret the fashion house's savoir-faire; the architects and designers are captured in their professional workplaces or with those objects that in a concise way best express their Weltanschauung. Future Roots is therefore a story in pictures in which the different aspects of planning in design, architecture, fashion and photography are brought to the fore, showing little distinction between sectors.

The definitive memoir of a timeless fashion icon, Tommy Hilfiger’s American Dreamer chronicles the designer’s formative years, his meteoric rise in the fashion industry, his embrace of music and pop and youth culture, and the setbacks, triumphs, and sheer determination that drove him to build a multibillion dollar global lifestyle brand.

This volume presents for the first time in English a curated selection of writings by the design thinker Gui Bonsiepe from the 1960s to the present day. Addressing as it does questions of non-Western design and a design practice that is both radical and democratic, Bonsiepe's work has assumed new importance for current debates inspired by global political and environmental crises. Structured into three sections, the anthology first addresses Bonsiepe's work on design theory and practice, particularly in relation to the history and contemporary relevance of the Ulm design school, where Bonsiepe was a professor in the 1960s. A second section then represents Bonsiepe's writings after his move to South America in the 1960s and '70s, where he worked as a design consultant for the Allende government in Chile before the military takeover. In writings from the period, Bonsiepe explores the concept of design 'at the periphery' and the relationship of national design traditions and practices in Latin American countries to those of 'the core' - Western European and American design. The final section comprises selections of Bonsiepe's writings on design in relation to literacy and language, visuality and cognition. This indispensable volume includes new interviews with Bonsiepe as well as his original, previously unpublished texts.

The hip, functional, and versatile furniture and products of Konstantin Grcic-widely recognized as one of the most important designers working today-are transforming the landscape of contemporary design. This book accompanies the first exhibition in North America of Grcic's work, highlighting the innovative archetypes of form and concept that have marked his remarkable output since 2004. Grcic delights in creating fresh takes on familiar industrial objects, whether desks, chairs, benches, stools, a range of kitchen equipment, lamps, a set of salad servers, or Krups coffee makers. In his recent work, he has blended his characteristic simplicity and distinctiveness with the use of new technologies and materials-for example, a cantilevered stacking chair, Myto (2008), is made from a strong, fluid plastic typically used by the automotive industry. Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago (10/17/09 - 1/10/10)

The narrative of the Foale and Tuffin story perfectly traces the decade from its groovy, optimistic beginnings, when the two embryonic fashion designers blithely set up shop in 1961, to its crash-and-burn finale, as Sixties sanguinity melted away into a hangover of Seventies cynicism, masked as it was with the distraction of fancy-dress escapism. Marion Foale and Sally Tuffin were two bolshy girls who just did it. After meeting at Walthamstow Art School in 1955 and then studying together at the Royal College of Art, they embarked on a trailblazing career in fashion. Quirky, youthful creativity, acute sensitivity to the latest moods and trends, expert craftsmanship, and a little Swinging Sixties good fortune placed them at the hub of the cultural explosion in London that defined the era. Their boutique off Carnaby Street was at the epicenter of the new fashion scene. Suddenly, David Bailey was photographing their outfits for Vogue, Cathy MacGowan was wearing them on Ready, Steady, Go , and the girls were jetting around America as part of the ground-breaking Youthquake tour. Through detailed interviews with Foale and Tuffin themselves, exclusive access to their personal archives, and contributions from an extraordinary array of figures from the fashion, art and cultural scenes of the 1960s, 70s and beyond, Iain R. Webb builds a fascinating picture of the time, throwing new light on how fashion and business underwent a period of unprecedented change. It was a period of cross-pollination in art, music and fashion, of entrepreneurial and cultural innovation. Contributors include Manolo Blahnik, Sir Terence Conran, Felicity Green, Barbara Hulanicki, Caterine Milinaire, Janet Street Porter, Mary Quant and Jean Shrimpton.

Now in its eleventh year, the Design Museum's Beazley Designs of the Year award and exhibition showcase the most innovative, relevant and thought-provoking projects in contemporary design. From the first iPhone to Zaha Hadid's final building, the nominations for the award have spanned the fields of architecture, digital, fashion, graphics, product and transport. Introduced by Deyan Sudjic and guest curator Aric Chen of M+ in Hong Kong, this illustrated book brings together all the nominated designs for 2018, along with the reasons for their selection by an international group of design experts, practitioners and critics, including Iwan Baan and Hans Ulrich Obrist. It is a snapshot of the most exciting things happening in design today. At the beginning of the second decade of its life, the essence of the concept remains the same. A wide and international group of expert nominators have been invited to put forward up to three projects each that for them reflect significant new directions in six fields, from architecture to transport. The results are put together by a guest curator to form an exhibition at the Design Museum. A jury selects winners in each category, as well as one overall design of the year. The Design Museum has published an accompanying catalogue for the award and exhibition over the past ten years, which was marked by the publication of the ten-year anniversary book Designs of our Time: 10 Years of Designs of the Year.

From the moment Christian Dior unveiled his famed New Look collection in Paris on February 12, 1947, women's fashion changed forever. Still one of the most revered names in fashion, Dior is known today for its unique couture dresses. This gorgeous volume continues the homage paid by famed photographer Patrick Demarchelier to one of the most important and influential fashion houses in the world. Working closely with the House of Dior, Demarchelier showcases the extraordinary gowns made in the Dior ateliers from 1947 to today. Along-side dresses designed by Dior himself, creations by the designers who succeeded him show the continuity of the house's rich heritage up to the absolute modernity of Raf Simon's designs. Sumptuously illustrated and beautifully designed, this book-a must for every fashion library-immortalises the archetype of haute-couture glamour.

This volume is an unprecedented history of Louis Vuitton's women's bags, the most coveted line of accessories in women's fashion. At the heart of Louis Vuitton are its City Bags, a range of women's bags that dates back to the turn of the twentieth century. Featuring the trademark monograms of the house, the City Bag story began with the Steamer, a resort bag designed in 1901 to be packed inside a much larger steamer trunk. These bags have in a hundred years formally diversified into a dizzying array of handbags for every conceivable function demanded by the modern woman. Profoundly influential, City Bags are now known to millions by their descriptive names (Keepall, Bucket, Papillon, Alma, Locket, Noe, Speedy) and are still evolving into more fantastical forms. Lavishly illustrated with new and archival photography, historical graphics, landmark editorials, and ad campaigns, the volume traces the history of these specific bag families, and examines the earliest specimens and today's most sought-after collectibles, including Vuitton's collaborations with Takashi Murakami, Stephen Sprouse, Richard Prince, Yayoi Kusama, and Rei Kawakubo and one-off projects by Zaha Hadid, Shigeru Ban, Vivienne Westwood, Helmut Lang, Andree Putman, and of course, Marc Jacobs. Louis Vuitton: City Bags is an ambitious volume on the creation and cultivation of a cultural phenomenon.

Designers often tend to deny the influence of changing tastes on their work. William Morris’s “joy in labour,” or the Bauhaus principle of “truth to materials,” are well- known principles of this kind; Charles Eames once advised, “innovate as a last resort – more horrors are done in the name of innovation than any other.” But of course, Charles and Ray Eames are celebrated as among the greatest design innovators of all time, and Arts and Crafts and Bauhaus knockoffs can be found in any home furnishings store.

In practice, modern design has been constantly subsumed within the imperative toward the new, on the assumption that the market will quickly burn through even the best ideas. The question is how to achieve objects of inherent value against this backdrop – to accept the fact that design operates (for all practical purposes) oriented to an insatiable market, yet one that can, on occasion, produce ideas of transcendent grace. Here is where Fredrikson Stallard come in. Look at any of their work, and you will immediately notice a certain quality of speed. At their best, Fredrikson Stallard’s objects are brilliant in just the same way that a great pop song is. There’s depth of feeling and thinking, but also a killer hook.

Fredrikson Stallard make no claims on the modernist high ground, in which objects are conceived as optimal, efficient solutions, end points of rigorous analysis. They are intuitive makers, and happy to accept the conditions of constant flux – that they are only as relevant as their last idea. They see that the values of their discipline are contingent, not timeless.

"Meeting Matteo, over 10 years ago in Hoxton Square has led me to develop a genuine respect and curiosity about his work and approach. I was excited and apprehensive when I decided to write his story. Such a responsibility. This book is not simply about Matteo's transformation from Marketing to the world of Interior Design over the past decade, but more about what inspires and drives someone and how they get through it. "From nothing, Matteo has created a design studio with a reputation for elegance, quality and quirkiness. I feel lucky to have been allowed such unlimited access, which has brought me closer to Matteo. I hope what I have discovered keeps you turning the pages, as I know that there is a lot more to come. Have a look for yourself." Matteo Bianchi is an award-winning Interior and Product Designer with an entrepreneurial flair. Born in Venice, Italy, Bianchi's inherent passion for design led him to train at the Chelsea College of Art & Design in London, after a career in marketing and advertising. Matteo Bianchi is the Founder and Director of Matteo Bianchi Studio, launched in 2007 and he also teaches Interior Design related courses at The Interior Design School, London and Chelsea College of Art in the United Kingdom and The United Arab Emirates. Matteo Bianchi's Studio combines unexpected, unique and refined Interior and Product Design.

Sutnar's brilliant structural systems for clarifying otherwise dense industrial data placed him in the pantheon of Modernist pioneers and made him one of the visionaries of what is today called "information design." Visual Design in Action is a snapshot of Sutnar's American period (1939-1976), and includes graphics for Carr's Department Store, advertisements for the Vera Neumann Company, identity for Addo-X, and other stunningly contemporary works. He is best known for his total design concept for the Sweets Catalog Service and lesser known for introducing the parenthesis as a way to typographically distinguish the area code from the rest of a phone number. Visual Design in Action is a testament to the historical relevance of Modernism and the philosophical resonance of Sutnar's focus on the functional beauty of total clarity. This reprint of Visual Design in Action (originally published in limited quantities in 1961) is as spot-on about the power of design and "design thinking" as it ever was.

Iconic graphic designer and Academy Award--winning filmmaker Saul Bass (1920--1996) defined an innovative era in cinema. His title sequences for films such as Otto Preminger's The Man with the Golden Arm (1955) and Anatomy of a Murder (1959), Alfred Hitchcock's Vertigo (1958) and North by Northwest (1959), and Billy Wilder's The Seven Year Itch (1955) introduced the idea that opening credits could tell a story, setting the mood for the movie to follow. Bass's stylistic influence can be seen in popular Hollywood franchises from the Pink Panther to James Bond, as well as in more contemporary works such as Steven Spielberg's Catch Me If You Can (2002) and television's Mad Men.

The first book to examine the life and work of this fascinating figure, Saul Bass: Anatomy of Film Design explores the designer's revolutionary career and his lasting impact on the entertainment and advertising industries. Jan-Christopher Horak traces Bass from his humble beginnings as a self-taught artist to his professional peak, when auteur directors like Stanley Kubrick, Robert Aldrich, and Martin Scorsese sought him as a collaborator. He also discusses how Bass incorporated aesthetic concepts borrowed from modern art in his work, presenting them in a new way that made them easily recognizable to the public.

This long-overdue book sheds light on the creative process of the undisputed master of film title design -- a man whose multidimensional talents and unique ability to blend high art and commercial imperatives profoundly influenced generations of filmmakers, designers, and advertisers.

Roy Axe devoted his life to car styling. From his earliest years, he had a passion for the way cars looked and having secured a job in the engineering department of Rootes he soon persuaded his bosses to allow him to study in the styling department. From then on, his course for a life in style was set. Axe enjoyed a stellar career. At just 29 he became design director at Rootes and Chrysler UK where he was responsible for styling many influential classics. During a period of massive expansion he worked for Chrysler in both the UK and the USA and headed up a truly international operation that shaped cars from all over the world - including the groundbreaking Chrysler Minivan. He also enjoyed a spell leading Rover's design team during one of its most embattled periods, overseeing the launch of the 800- and 200-series and the development of some exciting prototypes. A Life in Style is a unique first-hand account of corporate life in the automotive industry, and the sometimes troubled circumstances in which new cars were created. The accounts of battles between styling and engineering departments, as well as the cultural differences between car people from all four corners of the world are absolutely fascinating - as is the life story of a man who proved that nice guys can succeed in the car industry.

Kim Buck is partial to using well-known jewellery motifs such as hearts, daisies, signet rings, and crosses as a point of departure, but the materials can be anything from precious metals to found objects and ready-mades. With surprising combinations, wordplay, and a touch of irony, he questions the conventions of the jewellery business as well as the way national and religious symbols are used and abused. Even Denmark's national jewellery piece, the daisy brooch, is up for scrutiny. To a conceptual artist, raising questions and prompting reflection is of utmost importance. The questions raised by Kim Buck through his jewellery and objects touch upon values, ethics, and social status and reach far beyond the jewellery field itself, disrupting our cultural habits and understanding of the self. Text in English, Danish and Chinese.