Chanel's fashion shows are always unexpected, but with the set of Karl Lagerfeld's most recent Fall-Winter 2014/15 Pret-a-Porter collection for the house, the designer seems to have finally outdone himself. The concept of the catwalk was born anew as the "Chanel Shopping Center," where models jostled with one another as they browsed shelves and placed items in their shopping trolleys. This was, of course, no normal supermarket but a spectacular ironic reinterpretation of Chanel 's beloved codes, where supermarket produce and packaging were re-designed according to Lagerfeld's wit and whim. There were thousands of items to behold including Mont Cambon wine, Mademoiselle Prive doormats, tweed energy drinks, Coco Flakes (to be eaten with no more than Lait de Coco), Paris-Dallas ketchup, lion-shaped pasta, as well as bottled water labeled "Eau de CHANEL No 0." The visual vocabulary of the supermarket equally informed Lagerfeld's collection: from chain shopping baskets, vacuum-packed handbags, bottletop and padlock-shaped jewelry, to iridescent outfits with shoplifter-sized pockets. This book preserves the Chanel Shopping Center in print, and is playfully styled as a mail order catalogue displaying all items seemingly for purchase-but only while stocks last.

The trailblazing, self-made Belgian designer and artist, Arne Quinze, is a creative phenomenon. Effortlessly crossing over between the most diverse disciplines from art, design and architecture, he has established a new invigorating design language that has taken the design world by storm and has instantly become an icon. Quinze's genius lies in his ability to fuse polar extremes ?????? passion and chaos with controlled elegance. He masterfully creates immaculate, urbane and polished designs that are balanced with a certain contradicting tension, giving them a refined yet exuberant appearance. He realises his ideas with extraordinary verve and is able to apply them to projects of any scale, whether it be architecture, interior design, urban planning, furniture design, car design or footwear. This publication is the first monograph to document Arne Quinze's full creative universe from the past, present and future. The book showcases celebrated projects including furniture collections he has created for Quinze & Milan, where he is the creative director, Moroso and concept cars for Lamborghini, colossal wooden Uchronia sculpture at the Burning Man Festival in the Nevada desert, his recent monumental Cityscape sculpture project in Brussels' Quartier Louise and more. Over 40 projects are presented with lavish photographs, personal sketches and accompanied by incisive texts giving insight into Quinze's cosmos. Dazzling but never flamboyant, Quinze is undeniably one of the most ambitious and influential individuals in the creative scene today.

Marc Newson's complete works to dateHe has designed chairs, restaurants, boutiques, cars, planes, and even a spaceship. For Australian industrial designer Marc Newson, the sky is no limit. From mass-produced objects to limited edition furniture to fashion, Newson has blurred boundaries, mapped new territories, and made himself an international superstar.
This comprehensive tome leaves no stone unturned in cataloguing all of Newson's works to date, from early pieces such as Lockheed Lounge (which holds the world record for the highest price paid for a piece of designer furniture, at over two million dollars) through designs of household objects and more recent, large scale projects such as the Ford 021C concept car, the Kelvin40 plane, the interior of Qantas's A380, and the Aquariva boat.
Encyclopedia-style entries, arranged chronologically by categories: Furniture, Objects, Interiors and Architecture, Timepieces and Jewelry, Transport, and Unreleased ProjectsExtended, in-depth case studies for a selection of Newson's most important projects: the Kelvin40 plane, Qantas Airbus A380, Gagosian art editions, Ford 021C, Ikepod watches, and Aquariva BoatVisual index cataloguing Newson's complete worksExclusive, in-depth interview by Louise Neri
Contributing authors: Laszlo Adams, Nicholas Foulkes, Louise Neri, and Alice Rawsthorn
The Collector's Edition (No. 101-1,100) is limited to 1,000 numbered and signed copies, each in a linen-covered slipcase.

The foremost designer of the De Stijl group, and the author of its most iconic product, the 1917 Red and Blue chair, Gerrit Rietveld (1888-1964) stands today as one of the last century's most adventurous designers and architects. The iconicity of the Red and Blue chair, and of the Rietveld Schr xF6;der House in Utrecht (which was added to the UNESCO World Heritage List in 2000), have perhaps overshadowed the incredible scope and longevity of Rietveld's career, for this consummate modernist polymath designed on every scale, from a bus stop to a small village, and he continued his experiments right up to his death in 1964. Today his works are to be found in the collection of every serious design museum. "Rietveld's Universe" is a comprehensive publication on the range of this great designer's work, reproducing works and presenting new research and perspectives, including contributions by leading international scholars. Focusing on Rietveld's spatial philosophy and the mutual influences between his work and that of his close contemporaries such as Mondrian, Van Doesburg, Frank Lloyd Wright, Mies van der Rohe, Le Corbusier and Alvar Aalto, it expresses the unity of Rietveld's modernist pedagogy and affirms the audacity of his vision.

The "Dutch Design Yearbook "surveys more than 60 of the best product, fashion and graphic designs produced in the Netherlands from 2012 to 2013. The yearbook also attempts to predict which designs will prove the most formative in the future.

In 1989, at the suggestion of his analyst, designer Larry Vigon began to record every dream he could remember. He wrote each into an 11 x 14-inch sketchbook, along with an acrylic painting inspired by the dream. The result, over time, is an astonishing body of work, represented by the selections in this beautiful full-size facsimile volume. After seeing advance materials for the book, a writer in "Graphis" magazine said it "preserves the intimate presentation of the original warts-and-all artist's notebook--with words scratched out in first-draft fashion, blobs of ink, traces of transferred paint throughout, all the glorious imperfections. Unmediated as it is, Vigon's work functions like a form of meditation. At the same time the quality of the painting is that of finished art, so we experience the journal as a kind of heightened sketchbook of the unconscious." 74 color illustrations.