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Salvatore Ferragamo (1898-1960)

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Ferragamo has now become a classic within the fashion industry, but before this . Ferragamo was one of the very talented and appreciated fashion designers who made HAUTE COUTURE and started with shoes. This is a how many of the great names in fashion started in some way. Hermes started with saddles, Vuitton with suitcases and Ferragamo with shoes. In many of these cases the brandname is the most important asset. The Ferragamo brandname is no exception.

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Under the umbrella of Ferragamo and its classic logo, many fashion products have been marketed. Shoes, scarves, bags, glasses, belts, jewelry ….all FERRAGAMO, but i must confess that these are not ordinary designs, these are true collectable items for fashionistas, as is this beautiful publication on Salvatore Ferragamo.

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Black Friday at FTN books

Not just a 3 days discount but a total of 11 days, a one period discount of 10% on all your FTN books purchases. Valid from the early hours  of Friday the 22nd of November until midnight on the 1st of December 2019. Use the special Black Friday 10% discount code:

                                                               B2019F

 

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Stedelijk Museum 2009 … a cotton bag

 

During the renovation of the Stedelijk Museum in 2009. There were only 5 special opening days of the museum. These days were on the occasion of the Amsterdam art fair to let the public see the progress and possibilities of the “new” building and get acqainted with it

The museum had a completely different approach in showing its colection since the rooms were filled for a period of only 5 days. The result a truly different museum filled with surprising and fantastic art and this bag is proof that there were these opening days in May 2009. There were 4 different versions and all versions are available. The bag is made of cotton and contained a newspaper on the museum and had a special button on the outside. These bags have now become highly collectable items and are now for sale at www.ftn-books.com. An important Stedelijk Museum collectible.

stedelijk bag a

 

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an affordable Chanel bag..Coco in the City

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A few years ago there was a special exhibition on Chanel at the Gemeentemuseum Den Haag. On the occasion several items were published. There was a catalogue, a poster and a special cotton bag. The last two items are now available at www.ftn-books.com.

There was also the Irma Boom / Chanel book of which the museumshop had a few copies, but these sold out within a few days even thought their price was HIGH!

The bag however is the original exhibition bag which was made specially for this occasion. A nice bag with the silhouette of Coco Chanel. A highly collectable item for sale at www.ftn-books.com

chanel tas a

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Wim Crouwel (1928-2019)

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This morning i heard that one of the most influential designers from our time, Wim Crouwel, has died. The last years of his life he suffered Parkinson disease, but he was still going strong and must have looked forward to the retrospective of his works being opened later this  month at the Stedelijk Museum Amsterdam. What better way to commemorate this great artist than to show a selection of the many items designed by him. www.ftn-books.com

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And to finish one of my personal favorites. Wim Crouwel will be an example for many designers in the decades to comewerkman crouwel aa.

 

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Peter Lindbergh (1944-2019)

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Yesterday i learned that the great Peter Lindbergh has died on the 3rd of September. Maybe he was not the greatest of his generation, because Helmut Newton, Guy Bourdin and Karl Lagerfeld became much more famous than Lindbergh ever would become, but among the Stern, Vogue and Vanity Fair readers he was known for his excellent, non polished photographs.

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Setting a trend among photographers where the model had to be photographed as “natural” as possible. He will be remembered for these magnificent photographs which he took for 99% in black and white. www.ftn-books.com has some nice Lindbergh books in its inventory.

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Paul Poiret (1879-1944)

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Because i recently purchased the book on Paul Poiret whci was published on the occasion of the exhibition in the Gemeentemuseum Den Haag and the Metropolitan in New York i looked at the articel published by the Metropolitan and the information is perfect, so here it is :

Every decade has its seer or sybil of style, a designer who, above all others, is able to divine and define the desires of women. In the 1910s, this oracle of the mode was Paul Poiret, known in America as “The King of Fashion.” In Paris, he was simply Le Magnifique, after 

, a suitable soubriquet for a couturier who, alongside the all-pervasive influence of Sergei Diaghilev’s 

, employed the language of Orientalism to develop the romantic and theatrical possibilities of clothing. Like his artistic confrere Léon Bakst, Poiret’s exoticized tendencies were expressed through his use of vivid color coordinations and enigmatic silhouettes such as his iconic “lampshade” tunic and his “harem” trousers, or pantaloons. However, these 

 fantasies (or, rather, fantasies of the Orient) have served to detract from Poiret’s more enduring innovations, namely his technical and marketing achievements. Poiret effectively established the canon of modern dress and developed the blueprint of the modern fashion industry. Such was his vision that Poiret not only changed the course of costume history but also steered it in the direction of 

 history.

Poiret’s route into 

 followed the common practice of shopping around one’s drawings of original fashion designs. His efforts were rewarded in 1898, when the couturière Madeleine Chéruit bought twelve of his designs. In the same year, he began working for Jacques Doucet, one of the most prominent couturiers in Paris. According to Poiret’s memoirs, My First Fifty Years (1931)—also published as The King of Fashion—the first design he created for the house was a red wool cloak with gray crepe de chine lining and revers, which sold 400 copies. But it was a mantle he made for the actress Réjane in a play called Zaza that would secure his fame. Using the stage as a runway was to become a typical strategy of Poiret’s marketing practices, enabling him to present his most avant-garde creations. The mantle was of black tulle over a black taffeta that had been painted by Billotey, then a famous fan painter, with large white and mauve irises. In Poiret’s words, “All the sadness of a romantic dénouement, all the bitterness of a fourth act, were in this so-expressive cloak, and when they saw it appear, the audience foresaw the end of the play . . . Thenceforth, I was established, chez Doucet and in all of Paris.” By the time he left Doucet in 1900 to fulfill his military service, Poiret had risen to become head of the tailoring department.

In 1901, Poiret joined the House of Worth, where he was asked to create what Gaston Worth (the son of 

, the eponymous founder) called “fried potatoes,” simple, practical garments that were side dishes to Worth’s main course of “truffles,” opulent 

 and reception gowns. One of his “fried potatoes,” a cloak made from black wool and cut along straight lines like the 

, proved too simple for one of Worth’s royal clients, the Russian princess Bariatinsky, who on seeing it cried, “What horror; with us, when there are low fellows who run after our sledges and annoy us, we have their heads cut off, and we put them in sacks just like that.” Her reaction, however, prompted Poiret to found his own maison de couture in 1903 at 5 rue Auber. Later, in 1906, he moved his atelier to 37 rue Pasquier, and then, in 1909, to 9 avenue d’Antin. Two years later, he established a perfume and cosmetics company named after his eldest daughter, Rosine, and a decorative arts company named after his second daughter, Martine, both located at 107 Faubourg Saint-Honoré. In so doing, he was the first couturier to align fashion with interior design and promote the concept of a “total lifestyle.”

While Poiret learned his craft at two of the oldest and most revered couture houses, he spent his first decade as an independent couturier not only breaking with established conventions of dressmaking, but subverting and eventually destroying their underlying presumptions. He began with the body, liberating it first from the 

 in 1903 and then from the 

 in 1906. Although constantly shifting in its placement, the corseted waistline, which had persisted almost without interruption since the Renaissance, divided the female form into two distinct masses. By 1900, it promoted an S-curve silhouette with large, forward-projecting breasts and equally large backward-protruding bottom. In promoting an uncorseted silhouette, Poiret presented an integrated and intelligible corporeality. He was not alone in this vision of dress reform. Lucile (also known as Lady Duff Gordon) and Madeleine Vionnet also advanced an uncorseted silhouette, but it was Poiret, largely owing to his acumen for publicity, who became most widely associated with the new look.

In freeing women from corsets and dissolving the fortified grandeur of the obdurate, hyperbolic silhouette, Poiret effected a concomitant revolution in dressmaking, one that shifted the emphasis away from the skills of tailoring to those based on the skills of draping. It was a radical departure from the couture traditions of the nineteenth century, which, like menswear (to which they were indebted), relied on pattern pieces, or more specifically the precision of pattern making, for their efficacy. Looking to both 

 and regional dress types, most notably to the Greek 

, the 

, and the North African and Middle Eastern caftan, Poiret advocated fashions cut along straight lines and constructed of rectangles. Such an emphasis on flatness and planarity required a complete reversal of the optical effects of fashion. The cylindrical wardrobe replaced the statuesque, turning, three-dimensional representation into two-dimensional abstraction. It was a strategy that dethroned the primacy and destabilized the paradigm of Western fashion.

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Poiret’s process of design through draping is the source of fashion’s modern forms. It introduced clothing that hung from the shoulders and facilitated a multiplicity of possibilities. Poiret exploited its fullest potential by launching, in quick succession, a series of designs that were startling in their simplicity and originality. From 1906 to 1911, he presented garments that promoted an etiolated, high-waisted Directoire Revival silhouette. Different versions appeared in two limited-edition albums, Paul Iribe’s Les robes de Paul Poiret(1908) and Georges Lepape’s Les choses de Paul Poiret (1911), early examples of Poiret’s attempts to cement the relationship between art and fashion (later expressed in collaborations with Erté and Raoul Dufy, among others). Both albums relied on the stenciling technique known as pochoir, resulting in brilliantly saturated areas of color (

). It was an approach that not only reflected the novelty of Poiret’s designs but also his unique palette. Indeed, although the 

 depicted in the pochoirs referenced 

, their acidic colors and 

 accessorization, most notably turbans wrapped à la Madame de Staël, were more an expression of Orientalism (as were several cocoon or kimono coats for which Poiret was known throughout his career).

Spurred on by the success of the Ballets Russes production of Schéhérazade in 1910, Poiret gave full vent to his 

 sensibilities, launching a sequence of fantastical confections, including “harem” pantaloons in 1911 and “lampshade” tunics in 1913 (earlier, in 1910, Poiret had introduced hobble skirts, which also can be interpreted as an expression of his Orientalism). As well as hosting a lavish fancy-dress party in 1911 called “The Thousand and Second Night,” in which the fashions and the scenography reflected a phantasmagoric mythical East, he also designed costumes for several theatrical productions with Orientalist themes, most notably Jacques Richepin’s Le Minaret, which premiered in Paris in 1913 and presented the couturier with a platform on which to promote his “lampshade” silhouette. Even when Poiret reopened his fashion business after World War I, during which he served as a military tailor, Orientalism continued to exercise a powerful influence over his creativity. By this time, however, its fashionability had been overshadowed by modernism. Utility, function, and rationality supplanted luxury, ornament, and sensuality. Poiret could not reconcile the ideals and aesthetics of modernism with those of his own artistic vision, a fact that contributed not only to his diminished popularity in the 1920s but also, ultimately, to the closure of his business in 1929.

It is ironic that Poiret rejected modernism, given that his technical and commercial innovations were fundamental to its emergence and development. But although Poiret’s Orientalism was at odds with modernism, both ideologically and aesthetically, it served as the principal expression of his modernity, enabling him to radically transform the couture traditions of the 

. While Poiret may have been fashion’s last great Orientalist, he was also its first great modernist.

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The book is available at www.ftn-books.com

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Uwe Ommer (1943)

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The first book i acquired by Uwe Ommer was ” BLACK LADIES”. On the cover a beautiful photo of an even more beautiful young woman. Her face sparkles with joy. Later i realized that his subjects were mainly African woman, but what makes them for us from Europe so appealing is that these woman present themselves as confident, westernized woman of the world .

Make Up, Hair do , even their clothes are in many cases not typically African. With beautiful woman thes photobooks are real page turners and do not disappoint. Benedikt Taschen realized the qualities of Ommer and launched his photographs in his books on photography, making these photographs available to almost anybody. Their price at that time a low euro 9,90, but times have changed and these one time cheap books are now searched and collected worldwide and at a much higher price level. www.ftn-books.com

has some Ommer titles available.

 

 

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Lawrence Weiner (1942) + discount

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Lawrence Weiner and the Netherlands is a combination which now exists for almost 50 years. His connections with dutch directors and curators is legendary and he has made several special projects with them in dutch. Weiner is considered as a post minimal artist and one of the founders of Conceptual art and that is the reason why his works blend so well within the collections of the more important dutch museum. The van Abbemuseum, Stedelijk and Gemeentemuseum have all works by Weiner in their collections.

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But Weiner is much more than a conceptual artist. He is a book designer and poet at the same time  and these little sketches with words can be blown up into facades and objects with words. One of the most memorable to me was the facade at the Ljubljana Modern Art museum with a Weiner object on one of the outside museum walls. Impredssive, recognizable. So to celebrate the longtime history that Lawrence Weiner has with the Netherlands there is a discount this week of 10%  on all items at www.ftn-books.com . use the discountcode : LawrenceWeiner10 and receive a 10% discount on all items including some marvelous Lawrence Weiner publications.

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My personal bookcase

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I have had questions in the past….what is your personal interest in books?…. and…..you must have a very nice collection after so many years of being a bookseller. These questions and remarks can be answered simply. I have a large inventory of about 10.000 books that are for sale including some very nice and hard to find titles, but every book in my personal bookcase has a small story attached to it. There are books of exhibitions being held at the Gemeentemuseum while i was a publisher/bookseller at that museum and some were given to me by artists i collect.

About half of the books in my personal bookcase are very small publications related to the artists in our art collection and the remainder is about the artists i like very much and admire. I can say that none of them is very valuable, but for me these books are valuable and important, because they belong to the publication history of the artists i admire. Curious?….just “zoom in” on the picture and discover that of many of these titles i have multiple copies available at www.ftn-books.com. So make this your personal interactive blog and find/discover the titles at www.ftn-books.com