An evocative photographic homage shot by renowned image-makers that celebrates the iconic archival fashion designs of Francisco Costa for Calvin Klein. From 2003 to 2016, Francisco Costa was the creative director and women s collections designer for the American fashion house Calvin Klein. It was a time of creative abundance, one that simultaneously supported both fashion design experimentation and its traditional crafts. In 2020, Costa revisited his fashion collections archive and invited twenty-one photographers to receive a box containing hand-selected prototype and runway clothing from Costa s Calvin Klein women s collections that could be used either as inspiration or directly as props and costumes within photographs. 555 is a collaborative project that celebrates the iconic collection s reanimation and visual transformation by an extraordinary congregation of participating artists and image-makers. Moody, contemplative, and provocative images featured range from observational and documentary photography to self-portraiture, evocative nude editorials, fashion photography, and visual records of artistic performances. Housed in a beautifully crafted, limited edition clamshell box, twenty-one unbound booklets, printed on various tactile paper stocks, feature photographic stories by Diego Villarreal, Marcelo Gomes, Nick Waplington, Jamie Hawkesworth, Hugh Lippe, Alessandra Sanguinetti, Joel Meyerowitz, Lea Colombo, and Collier Schorr.

The hydraulic heritage and water culture in Ibero-America result in a man-made cultural landscape, century after century, where the legacies of several peoples are superimposed. Water is here an element of landscape differentiation and constitutes, therefore, as a distinctive mark in the territory and local memory. The approach to the theme of water from the patrimonial point of view as a material and immaterial good, whose cultural manifestations, derived from its use and application by the peoples, require efforts for its conservation and diffusion. In this context, this work intends to understand the past, present and future of Water Heritage and Culture in its interrelationship with multiculturalism and to promote the investigation of the processes of constitution of memory, identities and local values in Ibero-America. "Claiming water as a world heritage and also as a fundamental human right" is a statement included in the European Union's 2000 Water Framework Directive which serves as a motivation in the presentation of this work highlighting the patrimonial nature of water associated with culture of the people. Water as patrimony is an inexhaustible subject of studies that exceeds the pretensions of this work. The approach to the theme of water from the patrimonial point of view as a material and immaterial good, whose cultural manifestations, derived from its use and application by the peoples, require efforts for its conservation and diffusion. This work will be supported by the research characterized by the difficulty to find the information and to deepen the knowledge related to the water heritage and culture. The explanation lies in the scarcity of materials elaborated on this subject and the difficulty in accessing the respective files and sources. The cultural heritage associated with water is immense. There are innumerable objects associated with water heritage, not least the offices of those who work with this resource in traditional occupations, which only remain in the memory of older people or in cultures that keep their traditions alive. For centuries, human intervention has harnessed the resources and natural environments related to water, resulting in a series of high quality heritage elements that contain important cultural, environmental, landscape and socio-economic values. The consideration of water as heritage includes both material culture: objects, technologies, places, infrastructures ... and the immaterial culture that has been appearing throughout history. Water forms part of the territory. It determines the so-called landscapes of water, defined by the physiognomy of the territory with its natural and anthropogenic elements linked to the emotions that awaken its contemplation. Water landscapes have gained notoriety and, at times, exclusive spatial prominence, given that they are cultural footprints present in many of the municipalities of the Ibero-American countries that are still less well perceived and considered by social collectives. The development of a civic conscience on the conservation of water heritage and culture, which presses to declare them as goods of Community interest and to include them in the heritage of the Ibero-American regions, is therefore absolutely necessary and falls within the scope of this work

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.