Top down . . . bottom up . . . what works? This book explores development from the perspective of the poor. Who are they? What lives do they live? What matters to them? And most importantly, what can they do about it? Martin and Mathema debate how people can be given legitimate control of their own environment, and how governments can work with them. How do communities and conditions drive behavior? What interventions are appropriate and how can we approach development imaginatively? This is not about usurping governance – but revisiting structures that the developed world has come to accept, and placing the power of decision in the hands of the people it affects. Nor it is about money . . . it’s about people, and about how we can make our world work for everyone.

Development Poverty and Politics: Putting Communities in the Driver’s Seat (Routledge Studies in Development and Society)

Ashna Mathema

Richard, Martin

Reference

Routledge

Jacksonville's consolidated local government finds itself at a half-century crossroads. On October 1, 1968, in the aftermath of government corruption, fiscal instability and disaccredited schools, Jacksonville merged its city and county governments into a single consolidated City of Jacksonville. That monumental step created what is today the largest city by area in the contiguous United States and the 12th largest by population. More than fifty years later, as the Jacksonville Charter Revision Commission meets to consider the future of consolidated government, our community continues to debate how consolidation has worked and how it has fallen short. The Jacksonville Historical Society commissioned this 50th Anniversary edition of A Quiet Revolution. It includes original author Richard Martin’s historical accounts from the 1968 and 1993 editions and features former City of Jacksonville Chief of Staff Chris Hand’s chronicle of consolidated government from 2008 to 2019 – and his discussion of the issues that might define consolidation’s next 50 years.

A Quiet Revolution: The Consolidation of Jacksonville-Duval County and the Dynamics of Urban Political Reform - New Edition

Chris, Hand

Jacksonville Historical Society

Gianni Versace has said of himself, "I don't care for half-measures. I believe in making clear-cut choices." Versace's fashion is about such bold and unequivocal choices. Unafraid of being denounced by those less daring and more fearful than himself, he makes fashion meant to be worn by those who share his desire for risk--who share his honesty about sexuality and his self-confidence in aesthetic choice. Traditionally, fashion designers begin with innovations in their first collections, develop fans and followers, and ultimately settle into a style that is the designer's trademark, with modest adaptations to the season and fashion currents. Gianni Versace is different. The New York Times remarked on a 1996 showing: "Gianni Versace ended the day with his collection, dedicated to 'a woman who listens to classical music but enjoys rock, who reads The New Yorker and Calvino but can have a laugh at gossipy chronicles, who adores wearing Versace with Calvin Klein jeans or Versace jeans with a Chanel jacket.' If that sounds like a personal ad . . . it could be, because Mr. Versace is not setting up housekeeping with clients who have married him in the past; he is always courting someone new." Indeed, Versace is an uncompromising designer--one who develops and expands not only in the public arena of fashion but also in the even larger area of popular culture. Versace's energy has become famous; he makes it clear both as a designer and as a human being that he prizes life. Already by the late 1970's, Gianni Versace was in command of his distinctive style. He was able to combine absolute power and authority with comfortable materials and a relaxed silhouette. Even then he was designing the most confident clothing of his time. Who else, after all, would combine silk and leather with the panache of American sportswear? Who else would have let the pleats in the silk blouse become the center of ever-widening ripples that make troughs in the soft leather skirt? While Versace's designs are celebrated as unabashedly sexual, they nonetheless possess a strong sense of personal grace. Versace shows an unerring talent for bringing from the street those extravagant and graceful elements that represent the best in contemporary style. No major designer living today has more successfully transfigured the street's reality into convincing style--all the while keeping in sight the extravagant possibilities of Baroque and Renaissance motifs. Versace understands, perhaps better than any designer of his time, that fashion's place in the world is at the center of visual spectacle. With intelligent commentary and celebrated photographs of Versace designs, this book presents the Versace spectacle in all its boldness and sensuality. In this volume, we see Versace at once as the designer of the Byzantine Madonna, of the performer of Madonna, of modern sportswear infused with Italian Renaissance pageantry, of 1930's-inspired slinky gowns, and of an entirely new 1990's couture vision.

Versace (Universe of Fashion)

Arts & Photography

Fashion

Universe

Mylar cover, first edition from the exhibition held at the Metropolitan Museum of Art. 187pages fully illustrated with color plates, photographs of gowns from exhibition and some stage pieces, collectible fashion &amp; art book.

Gianni Versace

The Metropolitan Museum of Art/Harry N. Abrams

Will be shipped from US. Used books may not include companion materials, may have some shelf wear, may contain highlighting/notes, may not include CDs or access codes. 100% money back guarantee.

Cubism and Fashion

Metropolitan Museum of Art

An impressive array of clothing, accessories, and library materials was acquired through gift and purchase during the 1990s by The Costume Institute, The Metropolitan Museum of Art. Adding substantially to its comprehensive collection gathered over fifty-five years, the costumes span three centuries, beginning with a magnificent and rare silk damask brocaded English mantua of 1708 and including a wide-ranging selection such as a luxuriously embroidered and sequinned French man's ensemble of about 1765. a sparkling Agnès Drécoll robe en pannier of 1912, a beautiful Charles James wedding gown of 1940, and a slinky gold-tone metal mesh Gianni Versace evening gown of 1997–98.The "new" clothes are presented in six chapters. In "A History of Fashion" a mini view of three centuries of clothing vividly attests to the breadth of collecting achieved by The Costume Institute during the past decade. "The White Dress" poses a provocative question about the role of women in white, who have, in the author's words, "haunted the romantic imagination for centuries." As Richard Martin notes, men's clothing is difficult to find, largely because it has been far less coveted than womenswear, but the chapter on "Men of Three Centuries" illustrates a number of fine examples from the eighteenth century to Jean Paul Gaultier. Additions to the Irene Lewisohn Library, The Costume Institute, which since 1939 has been building a comprehensive archive of visual and written documents concerning costume history, include a pair of engraved cards front around 1780 showing European headdress and interesting illustrations from the comprehensive Giorgio di Sant'Angelo archive.Twentieth-century costume is brilliantly displayed in the chapters on "The Americans" and "The Contemporaries." During the 1990s The Costume Institute gathered American fashion with particular zeal, including works by the New York minimalist designer of the 1940s and 1950s Valentino and in such contemporary designers as Geoffrey Beene, Giorgio di Sant'Angelo, Halston, and Calvin Klein. The exhibitions and publications held since Richard Martin became curator in 1993 have emphasized contemporary design, and included here, in addition to the Americans, are choice pieces by Giorgio Armani, Ann Demeulemeester, Dolce & Gabbana, James Galanos, Romeo Gigli, Christian Lacroix, and Issey Miyake.The 113 color illustrations and the illuminating text by Richard Martin add up to a fascinating overview of one decade of The Costume Institute's collecting, which conveys its ongoing dedication to the acquisition and exhibition of costumes from the earliest extant examples of the eighteenth century to the newest works of voting designers. Our New Clothes displays the commitment to present costume in the museum setting as a living an that interprets history, becomes part of the historical process, and inspires subsequent art.(This title was originally published in 1999.)

Our New Clothes: Acquisitions of the 1990s (Metropolitan Museum of Art Publications)

Graphic Design

Harry N. Abrams

Offers a visual history of the way men have dressed in the twentieth century, tracing twelve social roles that have formed fashion and fashion leaders and profiling numerous trendsetters

Jocks & Nerds : Men's Style in the Twentieth Century

Harold Koda

History

Rizzoli International Publications

Hard cover fashion book about the intersection of art and fashion in the 1980's by famed curators Richard Martin and Harold Koda

The Historical Mode: Fashion and Art in the 1980's

Rizzoli

An unprecedented document of the Milanese designer's style, this book contains more than 300 sumptuous photographs commissioned by Armanie himself between 1975 and 1990. A book indispensable not only as a history of modern male attire but as a document of design and culture in our time. 325 photographs.

Giorgio Armani: Images of Man

The Tina Chow Fashion Couture collection includes some of the finest designers in the industry such as: Fortuny, Balenciaga, Chanel, Vionnet, James, Dior, Lanvin, Poiret, Schiaparelli, Alaia, Cardin, Givenchy, Gigli, Lagerfield, Rhodes, Miyake and Saint Laurent. Over fifty of the best examples are presented and discussed in this volume. Drawings, patterns and sketches as well as photographs taken by some of the most illustrious names in fashion photography over the past decades.

Flair: Fashion Collected by Tina Chow

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Books by Richard, Martin