Programm Midas Collection Herbst 2017


Verlagsprogramm Midas Collection im 2. Halbjahr 2017: Selwyn Leamy: »BIG SHOTS! Zeichnen«, Pritchard / Nourmand: »FOTOGRAFEN«, Philippe Halsmann: »JUMP«, June Marsh: »CHAPEAU! Audrey Hepburns Hüte«, Peter Angelo Simon: »Muhammad Ali / Fighter's Heaven 1974», Burt Glinn: »KUBA 1959«, Henry Carroll: »BIG SHOTS!«, »BIG SHOTS! People», Christoph Laverty: »Fashion & Film«, Josh Sims: »Männer mit Stil«, Josh Sims: »Frauen mit Stil«, Josh Sims: »DETAILS«, Frank Berzbach: »Die Sprache der Schuhe«, Martin Wieland: »THE BOOK«, Carroll / Angell: »Inspiration Instagram« u.v.a.

Paco Rabanne (metal)working in 1968. The couturier used

anything but typical fabrics

p152 Rabanne was part of a team that created Jane

Fonda’s costumes for Barbarella. His aesthetic is clearly

visible in this PVC one-piece with thigh-high boots

Karl Lagerfeld at a drawing board in Germany in 1984.

Lagerfeld essentially made the Fendi brand by launching

its first ready-to-wear label

p70 Michelle Pfeiffer In The Age of Innocence. Fur has

long been used in cinema as a means of portraying wealth

and status






panish-born designer Paco Rabanne is an

innovator to the highest degree, his garments

Stending more towards mobile art installations

than clothes people can wear. His debut show, ‘12

Unwearable Dresses’, in 1966 was a look into the future,

a calling card for a man who thought nothing of bending

pieces of metal around his models on a workbench

and calling it a dress.

Director Stanley Donan wanted a very different

look for Audrey Hepburn in his comedy drama Two for

the Road (1967; see also pages 17, 155). The film, a story

of a young couple’s difficult marriage, was a departure

for Hepburn because she was, in essence, playing a real

person. In movies such as Donan’s own Charade (1963)

and How to Steal a Million (1966; see pages 111, 112), she

exists more as an aspirational poster image. In Two For

the Road, Hepburn plays Joanna, one half of a bumpy

partnership with husband Mark (Albert Finney). Donan

was well aware of his leading lady’s connection to couturier

Hubert de Givenchy, and in fact was good friends

with the designer, but for this picture Hepburn needed

to be shopped for; she had to wear clothes that any

woman, albeit a well-heeled one, could purchase off the

rack. Casting Givenchy aside was difficult for Hepburn,

although wardrobe supervisor Clare Rendlesham

ensured she never appeared in anything less than






endi is intrinsically linked to cinema. The house

is keen to emphasize the collaborative nature of

Ftheir contributions to film, which at present number

over 30 features. They are not costume designers;

they work with costume designers. They understand

what a Fendi garment means on screen, and are happy

to embrace all connotations, from a delectable mink

coat worn by Madonna in Evita (1996) to a garish red fur

jacket with patent leather trim, and red leather boots,

on Elizabeth Hurley in Bedazzled (2000). Even outside of

cinema, Fendi’s clothes are as much about costume as

fashion. They delineate a certain type of person: sometimes

exquisite, sometimes kitsch, but always rich.

Fendi began life in 1918 when Adele

Casagrande set up a leather and fur workshop in Rome.

In 1925 Adele married Edoardo Fendi and they opened

a boutique next door selling their own goods during the

post-war recovery period. In 1946 Adele and Edoardo’s

five daughters joined the family business. Yet most

significant to the Fendi story was the appointment of

Karl Lagerfeld as creative director in 1965. Lagerfeld

moulded Fendi into what it is today: a luxury fashion

conglomerate. His belief in ‘fur as material’ – using the

fabric beyond mere accessory to construct entire garments,

namely divine fur coats – made Fendi famous.

In 1977 Lagerfeld launched Fendi’s first ready-to-wear

Vom Catwalk auf die Leinwand – Designermode im Kino


Bereits seit den ersten Tages des Films spielten Modedesigner eine

wichtige Rolle im Kino. Dieses Buch fasst die einflussreichsten und

legendärsten Designs aus der Historie des Films zusammen, von

Ralph Laurens Trendsetter, dem maskulinen Stil für Diane Keaton als

Annie Hall in »Der Stadtneurotiker« bis hin zu Audrey Hepburns kleinem

Schwarzen von Hubert de Givenchy in »Frühstück bei Tiffany«.

»Fashion & Film« feiert den Beitrag der Modedesigner zu großen Filmen,

stellt die wichtigsten Materialien vor, untersucht ihre Bedeutung im

Umfeld des Filmstoffs und erläutert, warum sie für die Ewigkeit gemacht

sind. Illustriert mit wunderschönen Standbildern aus über 100 Filmen,

Modefotos sowie Arbeitsskizzen ist dieses Buch eine Augenweide für

alle Liebhaber von Film und Mode.

Mit 50 Portfolios von: Agnès B., Azzedine Alaia, Bill Blass,

Brooks Brothers, Calvin Klein, Cecil Beaton, Christian Dior,

Dolce & Gabbana, Fendi, Gucci, Hardy Amies, Jean Paul Gaultier,

Karl Lagerfeld, Manolo Blahnik, Marc Jacobs, Prada, Ralph Lauren,

Tom Ford, Versace, Vivienne Westwood, Yves Saint Laurent u.v.a.

Christopher Laverty ist ein renommierter Kostüm- und Modejournalist,

der auch als Berater tätig ist. Als Herausgeber und Redakteur der preisgekrönten

Website »Clothes on Film« erscheint er regelmäßig bei BBC

und HBO und schreibt für verschiedene Zeitschriften. Eine seiner letzten

Publikationen war ein Buch über den Film »Grand Budapest Hotel«.

Christopher Laverty

Fashion & Film

Designermode im Kino

224 Seiten, Hardcover, Fadenheftung

Format 22,5 x 30 cm, € 34.90 | sFr. 44.–

ISBn: 978-3-03876-117-4 | Wg 1585 | Sept 2017

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