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Gianni Versace

著者: Richard Martin; Gianni Versace; Metropolitan Museum of Art (New York, N.Y.)
出版商: New York : Metropolitan Museum of Art : Distributed by H.N. Abrams, 1997.
版本/格式:   图书 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
"Richard Martin, Curator in Charge, The Costume Institute, The Metropolitan Museum of Art, has written a conceptual and analytical text that both places Versace's work in historical context and provides new insights into the major inspirations and themes of the designer. In the Introduction, he discusses Versace's relationship with earlier designers' work, and he also clarifies Versace's metamorphosis of the  再读一些...
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详细书目

类型/形式: Exhibitions
附加的形体格式: Online version:
Martin, Richard (Richard Harrison)
Gianni Versace.
New York : Metropolitan Museum of Art : Distributed by H.N. Abrams, 1997
(OCoLC)659034461
提及的人: Gianni Versace; Gianni Versace
文件类型:
所有的著者/提供者: Richard Martin; Gianni Versace; Metropolitan Museum of Art (New York, N.Y.)
ISBN: 0870998420 9780870998423 0870998439 9780870998430 0810965216 9780810965218
OCLC号码: 37755089
注意: Catalog accompanying an exhibition at the Metropolitan Museum of Art, Dec. 11, 1997 to Mar. 22, 1998.
描述: 191 p. : col. ill. ; 31 cm.
责任: Richard Martin ; photographs by Karin L. Willis.

摘要:

"Richard Martin, Curator in Charge, The Costume Institute, The Metropolitan Museum of Art, has written a conceptual and analytical text that both places Versace's work in historical context and provides new insights into the major inspirations and themes of the designer. In the Introduction, he discusses Versace's relationship with earlier designers' work, and he also clarifies Versace's metamorphosis of the prostitute into a positive, even exuberant expression of glamor and of independence from middle-of-the-road values. The body of the book is divided into seven conceptual sections, each beginning with a text summarizing the topic and each also including a brief discussion of individual costumes. The section titled "The Landmarks" is a retrospective look at Versace's major achievements. "Art" sketches in Versace's relationship with various artists, such as Alexander Calder and Robert and Sonia Delaunay, and emphasizes his particular sympathy for the work of Andy Warhol. In "History," we learn about Versace's creative interpretations of the past, from Byzantine art to the classicism of Madame Gres. "Materials" demonstrates Versace's extremely unusual incorporations of industrial plastics and leather, for example, which he so successfully translated into his own personal forms. Among the costumes in "Word and Image," we find a sparkling Vogue-inspired gown and small black leather dresses emblazoned with Japanese characters. The section on Versace's "Men" demonstrates his revolutionary views of the sensuous male in black leather with studs and fringes, or in brilliantly patterned shirt or jeans. And lastly, there is "The Dream," an evocation of Versace's visions of costumes for the opera and the dance, all of which are pure theater in the hands of this designer."--BOOK JACKET.

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