World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
CLOSED FOR SUMMER
RE—OPENING JAN 16
WEB-SHOP OPEN 24/7
ORDERS SHIP FROM JAN 6
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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'Pataphysics / Oulipo
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Arte Informale / Haute Pâte / Tachism
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Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1986, English
Hardcover (w. dust jacket), 140 pages, 27 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Quartet Books / London
$120.00 - Out of stock
First English hardcover edition of the stunning Charlotte Rampling photobook. With an introduction by the great Dirk Bogarde, this lavishly illustrated volume is a pictorial biography of one of the world's greatest stars of film. Beginning with Rampling's first Z-card in 1963, over 100 photographs trace her early modelling career and bold international film career, including her roles in Luchino Visconti's "The Damned" (1969), Liliana Cavani's "The Night Porter" (1974), John Boorman's "Zardoz" (1974), Dick Richards' "Farewell, My Lovely" (1975), Woody Allen's "Stardust Memories" (1980), Sidney Lumet's "The Verdict" (1982), Angel Heart (1986), to name a few, plus shoots by famous photographers such as Helmut Newton, Alice Springs, David Bailey, Cecil Beaton, Jeanloup Sieff, Bettina Rhiems, Peter Knapp and others.
Very Good-Fine hardcover copy in Very Good-Fine dust jacket, protected under mylar wrap.
1985, French
Softcover, 239 pages, 21.7 x 28 cm
1st Edition, Out of print title / used / very good
Published by
Henry Veyrier / Paris
$120.00 - Out of stock
The essential Jane Birkin book, by Gérard Lenne and published by Editions Henry Veyrier, Paris, in 1985. The only French printing of this incredibly in-depth monograph on the great actress and singer, Jane Birkin. Scarce and very sought after today, this book, written by French film critic and writer Gérard Lenne, and made closely with Birkin herself, is both an intimate and revealing biography of her life and an important document capturing her diverse and challenging career as actress (working with Alain Resnais, Agnès Varda, Jean-Luc Godard, Michelangelo Antonioni, Jacques Doillon, Serge Gainsbourg, Jacques Rivette, to name a few), model, singer, and much more - through countless photographs, film-stills and profiles of each of her films and records. Includes a discography, bibliography and videography (from "Blow Up" to "le Pirate"). A great publication of English/French film history and a must for any Jane Birkin fan.
Very good copy, some age tanning, light wear. Long out-of-print.
1993, Japanese
Softcover, 240 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Atelier Peyotl / Tokyo
$65.00 - Out of stock
"Mannequin" Special Feature Issue of cult Japanese underground magazine Yaso, published in 1993, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese that look at the theme of the mannequin from fashion apparatus to fetish object, automatons to living dolls, including a panoramic photographic history of mannequins, a photo feature of French photographer Bernard Faucon's boy mannequin collection, a huge illustrated article on famous Japanese costume, stage and exhibition designer, and Issey Miyake collaborator Tomio Mohri, the wax anatomical models of dissected corpses by Clemente Michelangelo Susini of Florence (1754–1814) shot by Ryuji Miyamoto, Czech animator Jirí Barta's Klub odlozenych, Japanese model and actress Sayoko Yamaguchi, the living dolls of the Japanese theatre, medical mannequins, crash-test dummies, icons, "Doll Love" and erotic dolls, plus lots more and a lot more Bernard Faucon!
Very Good—Near Fine copy.
1972, Japanese
Softcover (staple-bound), 140 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Heibon Shuppan / Tokyo
$65.00 - In stock -
February, 1972 issue of Heibon Punch, with an early cover feature on the already legendary young Swedish actress Christina Lindberg, with colour nude shoot by Japanese photographer Tadayuki Kawahito. This issue would have coincided with Lindberg's promotional tour across Japan on the back of her acclaimed third film role, Exponerad (1971), a Swedish sexploitation film directed by Lars Gustaf Emil Wiklund. Her new cult-like celebrity and Japanese visit resulting in an invitation to appear in a string of Japanese films and the height of the Pink film boom. There, she played a major supporting role in Norifumi Suzuki's classic Sex & Fury (1973), the same year she starred as Madeleine in the controversial Swedish rape-and-revenge exploitation film, Thriller – A Cruel Picture (1973), by Bo Arne Vibenius. Lindberg was one of the most iconic film stars of the 1970's underground, appearing in 26 feature films, mostly erotica, fictional sexploitation or softcore productions.
This issue also includes Pink Floyd, the famous controversy around Saskia Holleman and the Pacifist Socialist Party during the 1971 Dutch general election, and an amazing feature on the survival of Shoichi Yokoi, the Japanese soldier discovered in the jungles of Guam in January 1972, who when American forces captured the island in the 1944 Battle of Guam, went into hiding and survived off the jungle, living in a cave. Plus men's style, loads of manga,
Heibon Punch was a leading Japanese men's magazine published by Heibon Shuppan between 1964—1988, instrumental in bringing the cutting-edge into the mainstream during this period, including collaborators such as Yukio Mishima, Toshio Saeki, and Kyoko Okazaki.
Very Good copy.
2024, English
Softcover, 350 pages, 33 x 27.3 cm
Published by
American Art Catalogues / USA
$140.00 - Out of stock
American Art Catalogues presents the first monograph by artist David Rappeneau. Over-sized and profusely illustrated with 161 drawings selected by the artist, this self-titled monograph is printed in a limited edition of 1,000 copies.
“...And I’ve got this new book of David’s drawings. Still ravished, still haunted. Jimmy showed me his work ages and ages ago. Was it in Brussels or in Paris? Lost time. We got high in the park afterwards, which is what we did best. We gave the gargoyles funny names. Left my shopping bags in the graveyard Jimmy said something about Bernini. I said, Miaow. I said, It’s like Peyton but hot, and anime and PornHub vids and Gothic illustrations all making out together. I want, I love! I was just gonna do a heartbroken, mood board-ish Instagram story where I juxtaposed a Schiele drawing with something by David— Egon’s Standing Woman in Red, maybe, from 1914— loop ‘Agora Hills’ by Doja Cat over the top and caption it, ‘Ow, it hurts!’ Like, be all enigmatic like that, but fuck it, I’ve got nothing else to do.” - Excerpt from And the Infinite Sadness by Charlie Fox.
Text by Charlie Fox.
1990, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
Vol. 1 (March 1990) of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV/pink film idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Hitomi Kudo, Hana Inoue, Tomoko Nakano, Keiko Oda, Sueka Abe, Masami Akita (Merzbow), Manami Harada, Akihiro Yamada, Hisao Kai, Domu Kitahara, Eri Kikuchi, Mari Nishizaki, Yokoyama Kouji, Aida Yuko, Ayano Makoto, Sugita Mari, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1991, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Shishobo / Tokyo
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
January 1991 issue of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV/pink film idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Akina Nakamori, Eri Kikuchi, Masami Akita (Merzbow), Erina, Miki Fujimori, Yumi Matsubara, Domu Kitahara, Takashi Nakagawa, Junji Ito, Mika Mori, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1991, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
July 1991 issue of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV/pink film idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Kaoru Hanano, Ryoko Narumi, Koji Yokoyama, Hitomi Nishina, Masami Akita (Merzbow), Rudolf Schwarzkogler, Domu Kitahara, Kazuya Ota, Erina, Jiro Ishikawa, Nao Saejima, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1992, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Shishobo / Tokyo
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
May 1992 issue of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Junji Ito, Masami Akita (Merzbow), Nao Saejima, Seiu Ito, Domu Kitahara, Issei (Kobe Cannibal) Sagawa, Yukinori Fukushima, Ryuko Yano, Mika Mori, Hiroko Mugibayashi, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1989, Japanese / English
Softcover (w. dust jacket), unpaginated, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$90.00 - Out of stock
Rare 1989 fetishwear photobook and catalogue for famous Japanese store Azzlo, purveyors of all things bizarre fashion. Full colour gloss photography throughout by Kinichi Tanaka documenting models in erotic scenes fashioning Azzlo's "bizarre latex items, leather bondage-equipment, exotic high-heels, maids uniforms, pants, skirts, bras, victorian corsets, ballet shoes, masks, hoods, cat-suits, baby dolls, t-shirts, gloves, garters, wigs, bloomers, shoes & boots"... Heavy on pvc, latex, leather and lace, all catalogued with specifications, list prices and ordering information. Azzlo was established in Shinjuku at the end of the 1980's by artist, costume designer and student of Kaneko Kuniyoshi, Yumi Azzlo. Azzlo and her store/gallery space became vital to the Tokyo subculture in the 1990's.
VG—NF copy, light bowing.
1989, Japanese
Softcover, 115 pages, 18.2 x 25.6 cm
1st Edition, Out of print title / used / very good
Published by
Million Publishing / Tokyo
Taiyo Tosho / Japan
$90.00 - Out of stock
Rare and amazing 1989 special edition Japanese fetishwear catalogue showcasing clothing and paraphernalia — latex, rubber, leather, gag, underwear, footwear, heel and boot, tool... An incredibly stylish and gorgeous design throughout, with wonderful erotic photography "SCENES" shot by Masatoshi Osanai, featuring the talents of Hitomi Kudo, Junko Kanae, Sayoko Nakajima, Rinko Tachibana, Hana Inoue, Hidemi Hayakawa. Published by S&M Sniper's Million imprint and Taiyo Tosho, the photo collection is also interspersed with hypertexts to compliment the imagery — small articles covering themes of Biomechanoid Restraints, Industrial Baroque, Bondage Dolls, etc. and photo clippings of complimentary erotic photographers — Helmut Newton, Bob Carlos Clark, David Bailey, Robert Mapplethorpe, Joel-Peter Witkin, Nobuyoshi Araki, Kishin Shinoyama, plus art clippings — Christo, Minimal Art, Eric Satie, Arvo Pärt, etc... why you wonder? Possibly because it was designed by Ryuichi Sakamoto! Very sophisticated fetishism from Japan.
VG—NF copy, slight bowing.
1989, English / Japanese
Softcover, 196 pages, 39.5 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Comme des Garçons / Tokyo
$350.00 - In stock -
The incredible fourth issue of Comme des Garçons 'Six' magazine (1989) featuring avant-garde photography exploring the idea of the 'Sixth Sense' while reflecting the Fall 19891 collection, including photography by Robert Frank, Arthur Elgort, Josef Koudeika, Saul Leiter, Peter Lindbergh and Mike and Doug Stern. All incredible full-bleed photography spanning 196 over-sized pages!
Between 1988 and 1991, Comme des Garçons explored the theme of the sixth sense via eight special biannual oversized, unstapled magazines titled 'Six'. These magazines were launched to coincide with Comme des Garçons fashion collections and were privately distributed at the time. The magazine visually represented the brand in a way that no other fashion company had before. Rei Kawakubo invited Tsuguya Inoue to art direct and Atsuko Kozasu to edit the issues, whilst contributions came from different designers and artists.
Issues of Comme des Garçons 'Six' have become very sought after collectors items.
Very Good—Near Fine copy.
1986, Japanese
Softcover (staple-bound), 36.5 x 26 cm
1st Edition, Out of print title / used / good
Published by
Cross Culture Foundation / Tokyo
$65.00 - In stock -
Rare inaugural issue of the almost unknown but incredible Japanese magazine, Rag. Was this the only issue? Published in 1986 in over-sized, staple-bound format, Rag issue 1 includes a beautiful photo feature on Butoh performer Goro Namerikawa, a large feature on "Art's Destroying Angel" Tadanori Yokoo, photography by Nobuyoshi Araki, Keiichi Tahara, Yasushi Handa, Shunji Kaida, Herbie Yamaguchi, Sachiko Kuro, Kaoru Ijima, experimental musician and playwright Koharu Kisaragi, costume designer Michiko Kitamura, designers Issey Miyake, Junko Shimada, musician Eitetsu Hayashi, and much more.
Good copy with some large format wear to spine/extremities.
1982, Italian / English / French / Japanese / German
Hardcover (w. dust jacket), 212 pages, 22 x 24 cm
1st Edition, Out of print title / used / good
Published by
Edizioni L'Agrifoglio / Milan
$160.00 - Out of stock
First and only edition of the scarce and wonderful "Le Vetrine Di Milano", published in 1982 by Edizioni L'Agrifoglio in Milan. If you ever wished to know what is was like to wander the piazzas and gaze through the shop windows of Milan in the early 1980s, this book lets you do just that. "Milan "presents itself" by way of its shopwindows, it expresses and fulfills itself in them." In 1982, local photographer Maurizio Montanari documented the latest designs and displays of boutiques and gallerias throughout the streets and squares of Milan, from Fiorucci to Christian Dior, Krizia to Arteluce, Pierre Cardin to Gucci. Views of delicate laces, day-glo sports wear, shimmering Alfa Romeos and ornate tapestries are reflected with the gaze of passers-by and the surrounding city landscape in Montanari's photographic flânerie. Illustrated throughout in vivd colour with texts in Italian / English / French / Japanese / German.
Good copy in VG dust jacket. Would be Very Good but only with loosening stitch binding (still strong and intact) and a couple of editing design notes in pencil (copy from collection in Milan).
1995, English / Italian
Hardcover (w. dust jacket), 260 pages, 30.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Edizioni L'Archivolto / Milan
$90.00 - Out of stock
First 1995 edition of Vetrine a Milano, a lavish hardcover photographic document of window displays in the fashion capitol of Milan in the mid—1990's, published by L'Archivolto. Stunning gloss full-page and double-page colour photographic spreads by Alberto Ferraro capture the displays of the most famous and prestigious shops in Milan (Giorgio Armani, Gianni Versace, Hermés, Artemide, Krizia, Moschino, Valentino, Missoni, et al.) designed by leading interior designers and window-dressers of the day, all mapped out street by street, with comprehensive indexes and profiles.
Silvio San Pietro is an architect and publisher. In 1980 he founded L'Archivolto, a combined publishing company, bookstore, and gallery specializing in architecture and design. Since 1986 he has created, edited and published over 130 books for Edizioni L'Archivolto.
Very Good copy in VG dust jacket.
2024, English
Softcover, 192 pages, 31 x 23 cm
Published by
Bill / Brussels
$92.00 - In stock -
‘Bill’ is annual magazine that prioritises visual reading of its photographic stories without the distraction of text. This issue contains 192 offset pages printed in CMYK, silver, and black and white on a dozen different paper stocks, along with some Japanese bound signatures. Designed, edited, and produced by Julie Peeters and associate editor Elena Narbutaite.
Sand, wind, tide, bills, tulips, LA, parking lots, waves, thoughts, bagels, prints, Tokyo, orchids, horses, backs, balm, magazines, updates, shadows, Elena's shoe, two mudbaths and a garage door...
by Boyle Family, Jochen Lempert, Ketuta Alexi-Meskhishvili, Gillian Garcia, Beat Streuli, Takashi Homma, JP, Adrianna Glaviano, Mimosa Echard, Rosalind Nashashibi, Gerald Domenig, Christian Kōun Alborz Oldham, Martiniano, Blommers Schumm
2021, English
Softcover (w. print), 208 pages, 23 x 30 cm
1st Edition, Out of print title / used / very good
Published by
A Magazine / Antwerp
$200.00 - Out of stock
On the occasion of our 20th anniversary, A Magazine presents a limited-edition reprint of A Magazine Curated By Maison Martin Margiela. Originally released in 2004, this project can be traced back to the Belgian origins of A Magazine, which was founded in Antwerp by Walter Van Beirendonck in 2001.
After the magazines N°A, N°B, N°C, N°D and N°E, A Magazine Curated By Maison Martin Margiela was the first ever issue to bear the ‘Curated By’ title, and is a testament to this core concept thanks to Martin Margiela’s insightful mix of collaborators and projects that unveils many key names working quietly behind-the-scenes as parts of his anonymous fashion collective. Though not a single contribution bears his name, every page is imbued with the essence of the Maison, with written recounts via fax and photocopy as well as photographic and artistic projects by permanent staff members, trainees, assistants, models, artists, photographers, musicians, set designers and filmmakers.
Nearly two decades after its original release, the issue remains a bold statement that acknowledges the season-less, timeless nature of A Magazine. As a cult and collectible object in the realm of printed matter, it is a testament to the ongoing relevance of the founding ideals of the Maison Martin Margiela: from the deconstruction of garment-making and the disruption of classical ideals in photography, to such phenomena as street casting, unconventional beauty, subversive communication, and a Dadaist approach to the very concept of fashion and object design.
The 2021 edition is an identical reprint of the original magazine with matched paper stock and cover treatments, with all original content preserved.
Accompanying the issue, a selection of 6 archival images from Mark Borthwick, Anders Edström, Marina Faust, Jonathan Hallam, Ola Rindal and Ronald Stoops have been issued as 240 x 180mm unsigned prints.
Each copy contains a single print placed at random – in the spirit of the Maison Martin Margiela.
Contributor:
Åbäke, Ali Mahdavi, BLESS, Bob Verhelst, Claudia Riedel, David Ballu, Dorothee Perret, Elisabeth Broekaert, Eric Traoré, Frank Pay, Gerdi Esch, Hilde Bouchez, Hilde Decock, Inge Grognard, Jacques Habbah, Jane Birkin, Jonathan Hall House, Kanako B. Koga, Katerina Jebb, Kristina De Coninck, Kyoichi Tsuzuki, Laurence Passera, Laurent Mercier, Lutz Huelle, Marina Faust, Mark Borthwick, Nigel Bennett, Nigel Scott, Ola Rindal, Patrick Scallon, Paul Boudens, Paul Helbers, Peter Pilotto, Pierre Gayte, Ronald Stoops, Roxane Danset, Sébastien Meunier, Sherald Lamden, Tetsuya Kitayama, Violeta Sanchez, Yung
1998, Japanese
Softcover, 130 pages, 30 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Studio Voice / Tokyo
$160.00 - Out of stock
Rare 1998 special collector's issue of Japan's celebrated Studio Voice, dedicated to the work of Martin Margiela. Outside of the Margiela STREET issues, this would have been the largest feature committed to the Belgian fashion designer at the time, with most of the content unseen elsewhere. Almost 50 pages of large colour and b/w Margiela photographic shoots by Marina Faust, Mark Borthwick, and Ronald Stoops, amongst others, plus the Margiela exhibition at the Boymans Museum in Rotterdam, the Bacteria Project, "Working By Hand - Artisanal Production", Margiela's first collection for HERMÈS (98/99 AW), "Endless Threads" (text by Sydney Picasso), and a rare Q&A with Margiela himself.
As a bonus, this issue also includes artwork by EYƎ (Boredoms, etc.)!
Very Good copy. Light wear.
2024, English
Softcover, 200 pages, 33 x 24.7 cm
Published by
Viscose / Copenhagen
$55.00 - Out of stock
The sixth issue of Viscose Journal focuses on fashion as constructed through words, language and writing. From the pens of fashion journalists and art critics to the conceptual wordplay of designers, the issue delves into the aesthetic and critical effects of “writing fashion” in and outside of fashion industries.
The fashion writer is a confidant, a storyteller, a forecaster, a mythmaker; they are evocative and poetic, forming words that shape, and in turn are shaped by, the latest fashions. From the salon shows to the pages of fashion magazines, their “expressions may be as ephemeral as the fashions they describe,” as Dorothy Hughes noted already in 1935. Early fashion writing played a key role in the transformation of clothes into fashion each season, and in igniting the machine of fashion itself. The historical roots of fashion writing— which was, at least in an industry context, a distinctly female practice— are grounded in the modernization and seasonalization of industrial fashion. And even today, in an age described by many as image-driven, this remains true: across various media platforms, language not only surrounds fashion but also continuously contributes to its creation.
The succinct, ephemeral poetry of the fashion writer still plays—nearly a century since Hughes’ observation—a transformative role in the seasonal turnover of fashion, but its role in the fashion industry remains seriously overlooked. Fashion invests substantially in seasonally refreshing the visual messaging accompanying its physical commodities, but language plays a similarly important support in this artful game of marketing. In this industrial context spanning from press releases to magazine production, writing is devoted to fashion promotion, prioritizing its fundamental traits of novelty, urgency, and semiotic complexity. In this context, fashion writing is a process of mystification, capable of revealing things that the image cannot. The material conditions of fashion writing—of being for fashion—generates a unique set of poetics and syntax. Fashion writing, or “written fashion,” as Roland Barthes asserts, is a form of signification that is simultaneously real and imaginary, connected to the real garment that it signifies, but largely unencumbered by its materiality. Given the constraints of economic, cultural, and political factors on fashion writing, it is perhaps more interesting to ask, what is fashion writing really encumbered by, and what would it mean to “unencumber” it?
Since Baudelaire, art critics have turned to fashion as source material for their practice, casting fashion in the role of art’s capitalist conspirator, temporal truth-sayer, or feminine alter-ego. This erratic history is one filled with both fraught politics (rooted in a gendered division of labor) as well as critical possibility: art writing gestures to a style of intellectualism and independence from industry that is largely foreign in fashion. Viscose Journal has, since its founding, aimed to detach fashion criticism from industrial frameworks that has historically premised it. At the same time, informed by a materialist politics of fashion labor, we wish to seriously level the largely female writing of commercial fashion publications with the masculine philosophical inquiries of fashion.
While “fashion writing” denotes a thematic category within the wider field of writing, our theme of “writing fashion” prompts an exploration of fashion writing as a mode of fashion production and critique. This issue aims to explore writing as a tool for shaping fashion and broaden its perspectives by presenting a survey of experimental, fictocritical, and poetic approaches to writing fashion. In this expanded field of writing, “fashion” unfolds as a ubiquitous and epistemologically complex phenomena of everyday life pertinent to all.
Accompanied by the exhibition “Writing Fashion“ at and published by the International Library for Fashion Research in Oslo, Norway, staged in June 2024, Viscose Journal 06 strives to be a thought-provoking journey into the captivating intersection of fashion and language. We are grateful to the library’s fantastic team and collaborators for their ongoing support and collaboration.
with works by: Osman Ahmed, Alba Aragón, Katherine Bernard, Ricarda Bigolin, Eileen Chang, Dal Chodha, Eduardo Costa, Jose Unzueta Criale, Femke De Vries, Becket Flannery, Kennedy Fraser, Laura Gardner, Patrick Greaney, Bruce Hainley, Elizabeth Hawes, Nakako Hayashi, Devin Hentz, Elaine Wing-Ah Ho, Juje Hsiung, Olivia Kan-Sperling, Jamaica Kinkaid, Chantal Kirby, Jeremy Lewis, Davora Lindner, Hanne Lippard, Shanzhai Lyric, Shizuang Magazine, Celine Mathieu, Derek Mccormack, H.B. Peace, Julie Peeters, John Perrault, Vogue Runway Rag, Rachel Tashjian, Jeppe Ugelvig, Elizabeth VR, Hanna Weiner, Elizabeth Wilson, Yohji Yamamoto, Bruno Zhu
1989, Japanese
Softcover, 208 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$70.00 - Out of stock
Issue No.36 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.36, the "Female Foot Fetishism Special Issue" with the wonderful wraparound Pierre Molinier cover is packed with imagery and essays around the theme of "Foot and Fetish Heel" throughout history, literature, film and fetish publishing, etc. profusely illustrated with drawings, photography, bondage illustrations, film stills, catalogue clippings, and artworks, including works by Bill Ward, Pierre Molinier, Nobuyoshi Araki, and so many more. It also features the Fiction, Inc. section that samples a cross-section of content from catalogue publications including the work of John Willie, Bill Ward, Carlo, Eric Stanton, Irving Claw, Betty Page, and periodicals such as Rubber Magazine, Amateur Bondage, Bizarre Comix, Bizarre Classix, Bizarre Fotos, Stiletto, and much more... Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy.
2001, Japanese
Softcover (w. dust jacket), unpaginated, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Seibundo-Shinkosha / Tokyo
$100.00 - Out of stock
Published in Japan in 2001, Hip Paradise (translated to English, "Ass Paradise") by photographer Takayuki Nakamura is cover to cover full-colour 90's glamour soft-core/garment fetishism at its finest, featuring Japanese adult film stars Kaya Asami and Hitomi Ikeno as models. The title says it all, this glossy fetish volume is for bottom fans. Styled by Toshiko Sugino, Asami and Ikeno feature in verso throughout undressing various late 90's/early 00's fashions—with loving attention to nylon, denim, lace, and spandex, these are incredible fashion styling/garment fetish publications. Undocumented and little known outside the fleeting appreciation of 1990's tokyo adult book vendors, Nakamura's books are really something special and very rare to come by. For fans of Namio Harukawa, the neon exhibitionism of Pink Star Editions and the peeping lens of Ikko Kagari.
Very Good copy.
2022, English
Softcover, 376 pages, 30.1 x 23 cm
Ed. of 500,
1st Edition, Out of print title / used / fine
Published by
IDEA / London
$200.00 - Out of stock
Expanded 2022 edition of IDEA London's Self Service 1994-2022, The Ads, the quickly out-of-print heavy visual compendium of more than 300 fashion ads from 25 years of Self Service magazine, featuring iconic contemporary advertising imagery from brands such as Raf Simons, Comme des Garçons, A.P.C., Alexander McQueen, Hussein Chalayan, Prada, Miu Miu, Issey Miyake, Chloé, Balenciaga, Yohji Yamamoto, Jacquemus, Hermès, Celine, Eckhaus Latta, Jil Sander, Calvin Klein, Viktor & Rolf, Yves Saint Laurent, Susan Cianciolo, Marc Jacobs, BLESS, Fendi, Koji Tatsuno, Gucci, Botetega Veneta, Zucca, Helmut Lang, to name a few, all packed into one exceptional reference volume.
Edition of 500 copies.
"This book is a gathering of more than two and a half decades* of fashion advertising campaigns as they have appeared on our printed pages, providing a fascinating testament to and a subjective barometer of fashion's evolving aesthetic and cultural norms."—Ezra Petronio, art director and founder of Self Service
*28 years, 112 seasons, 56 issues, 18,431 pages, 3,397 advertising pages, 314 brands.
Near Fine copy with light wear and light spine crease.
2004, English
Softcover, 96 pages, 12 x 17 cm
Ed. of 1000 (mostly destroyed),
1st Edition, Out of print title / used / fine
Published by
Star Publishing / Paris
$600.00 - In stock -
First edition of this exceptionally rare Guy Bourdin title. Due to a copyright restriction almost the entire print run of only 1000 copies of the book were destroyed immediately upon release, leaving only a few copies out in the wild. This is one of those few. 67 Polaroids is the most personal and behind-the-scenes of any of Bourdin's books, presenting a stunning selection of his personal polaroids, most of which were taken during the production of some of his most familiar photo shoots. Captures an intimate and moody glimpse into the creativity of Bourdin not seen elsewhere. Beautifully compiled. "These images step outside the safety of the fashion shoot, conjuring a real-life realm steeped in an ominous sexuality."
Guy Bourdin (1928 – 1991), was a French artist and fashion photographer known for his provocative images. From 1955, Bourdin worked mostly with Vogue as well as other publications including Harper's Bazaar. He shot ad campaigns for Chanel, Charles Jourdan, Pentax and Bloomingdale's. He is considered as one of the best known photographers of fashion and advertising of the second half of the 20th century, setting the stage for a new kind of fashion photography. A protégé of Man Ray, Bourdin like his teacher often brought an edge of menace or discomfort to his eroticism. "While conventional fashion images make beauty and clothing their central elements, Bourdin’s photographs offer a radical alternative." The first retrospective exhibition of his work was held at the Victoria & Albert Museum in London in 2003, and then toured the National Gallery of Victoria in Melbourne, Australia, and the Galerie nationale du Jeu de Paume in Paris. The Tate is permanently exhibiting a part of its collection (one of the largest) with works made between 1950 and 1955.
Fine copy.
1990, English / Japanese
Softcover (two-volume catalogue house in original printed cardboard sleeve w. invitation), 21 x 30 cm, 40 pages / 20 pages / folded invitation
1st Edition, Out of print title / used / very good
Published by
Touko Museum of Contemporary Art / Tokyo
$280.00 - Out of stock
The incredibly rare and beautiful two-volume catalogue edition, issued in conjunction with the exhibition "Issey Miyake: Pleats Please" at Touko Museum of Contemporary Art, Tokyo, Japan, 1990.
This is a first (only) edition printing in VG—fine condition, with additional inserted exhibition folding invitation to the private reception in 1990.
Housed in their original printed cardboard folder/pocket, these two publications, designed by Ikko Tanaka, both feature text in English and Japanese. Volume one: "Pleats Please by Issey Miyake" examines the exhibition "Issey Miyake: Pleats Please", which saw the first presentation of renowned Japanese designer Issey Miyake's new technique called garment pleating, in which the garments are cut and sewn first, then sandwiched between layers of paper and fed into a heat press, where they are pleated. The fabric's 'memory' holds the pleats and when the garments are liberated from their paper cocoon, they are ready-to wear. Miyake's pleating works were first exhibited here in 1990, three years before the launch of the famous line "Pleats Please" in 1993. The publication documents production and installation photography from the exhibitions, where the garments were set into a custom built floor system.
Volume Two: "Issey Miyake by Irving Penn", features stunning photography by the great Irving Penn, of each of Issey Miyake's first "Pleats Please" garments together with a poem by Shuntaro Tanikawa.
This is truely a collector's item for any Issey Miyake enthusiast or collector, marking the beginning of "Pleats Please" through the photography of Irving Penn. This copy has been well looked after, with both books in wonderful condition, protected by the original printed folder sleeve, which is also in preserved condition.
VG—F condition all round.