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The evolution of style from antiquity to 1888 Originally published in France between 1876 and 1888, Auguste Racinet’s Le Costume historique was the most wide-ranging and intelligent study of clothing ever published.

Covering the world history of costume, dress, and style from antiquity through the end of the 19th century, the great work — “consolidated” in 1888 into 6 volumes containing nearly 500 plates — remains, to this day, completely unique in its scope and detail. Racinet’s organization by culture and subject has been preserved in TASCHEN’s magnificent and complete reprint, as have excerpts from his delightful descriptions and often witty comments. Perusing these beautifully detailed and exquisitely coloured illustrations, you’ll discover everything from the garb of ancient Etruscans to traditional Eskimo attire to 19th-century French women’s couture. Though Racinet’s study spans the globe from ancient times through his own, his focus is on European clothing from the Middle Ages to the 1880s and this subject is treated with exceeding passion and attention to detail.

The Complete Costume History is an absolutely invaluable reference for students, designers, artists, illustrators, and historians; it is also an immensely fascinating and inspirational book for anyone with an interest in clothing and style.

Originally published in France between 1876 and 1888, Auguste Racinet's Le Costume historique was the most wide-ranging and intelligent study of clothing ever published. Covering the world history of costume, dress, and style from antiquity through the end of the 19th century, the great work - "consolidated" in 1888 into 6 volumes containing nearly 500 plates - remains, to this day, completely unique in its scope and detail.

Racinet's organization by culture and subject has been preserved in TASCHEN's magnificent reprint, as have excerpts from his delightful descriptions and often witty comments. Perusing these beautifully detailed and exquisitely colored illustrations, you'll discover everything from the garb of ancient Etruscans to traditional Eskimo attire to 19th century French women's couture.

Though Racinet's study spans the globe from ancient times through his own, his focus is on European clothing from the Middle Ages to the 1880s and this subject is treated with exceeding passion and attention to detail. The Costume History is an absolutely invaluable reference for students, designers, artists, illustrators, and historians; it is also an immensely fascinating and inspirational book for anyone with an interest in clothing and style.

Contents:
Part I – The Ancient World (Egypt, Assyria, Israel, Persia and Phrygia, Greece, Etruscan, Greco-Roman, Rome, Barbarian Europe, Celts and Gauls)
Part II – The 19th Century - Beyond the Borders of Europe (Oceania, Africa, Eskimos, North American Indians, Mexican Indians, South American Indians, China, Japan, India, Ceylon, Middle East, Orient, Turkey)
Part III – Europe 400-1800 (Byzantium, France-Byzantine, Poland, Italy, Spain, Germany, France, England, Holland)
Part IV – Traditional Costume Till the Late 19th Century (Scandinavia, Holland, Scotland, England, Germany, Switzerland, Russia, Poland, Hungary, Greece, Italy, Spain, Portugal, France)

Togas, turbans, tailcoats, and top hats. The evolution of style from antiquity to 1888

Originally published in France between 1876 and 1888, Auguste Racinet’s Le Costume historique was the most wide-ranging and incisive study of clothing ever attempted. Covering the world history of costume, dress, and style from antiquity through to the end of the 19th century, the six-volume work remains completely unique in its scope and detail.

TASCHEN’s reprint of the colour plates presents Racinet’s exquisitely precise and coloured illustrations, as well as his delightful descriptions and often witty comments. Spanning everything from ancient Etruscan attire to French women’s couture, material is arranged according to Racinet’s original organization by culture and subject. As expansive in its reach as it is passionate in its research and attention to detail, Racinet's Costume History is an invaluable reference for students, designers, artists, illustrators, and historians; and a rich source of inspiration for anyone with an interest in clothing and style.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

Togas, turbans, tailcoats, and top hats. The evolution of style from antiquity to 1888

Originally published in France between 1876 and 1888, Auguste Racinet's Le Costume Historique was the most wide-ranging and incisive study of clothing ever attempted. Covering the world history of costume, dress, and style from antiquity through the end of the 19th century, the great work - published in six volumes containing nearly 500 plates - remains, to this day, unique in its scope and detail.

Racinet's organization by culture and subject has been preserved in TASCHEN's magnificent and complete reprint, as have excerpts from his delightful descriptions and often witty comments. Volume 1 contains all the plates from Racinet's work, reproduced in brilliant quality and showing the original's love for detail and colour. Volume 2 collects the texts accompanying the images, giving descriptions and explanations, as well as the introduction by Françoise Tétart-Vittu.

Perusing these beautifully detailed and exquisitely coloured illustrations, you'll discover everything from the garb of ancient Etruscans to traditional Eskimo attire to 19th-century French women's couture. Though Racinet's study spans the globe from ancient times through his own, his focus is on European clothing from the Middle Ages to the 1880s and this subject is treated with exceeding passion and attention to detail.

Rich selection of scaled dressmaker's patterns from the popular late 19th-century magazine The Voice of Fashion details 50 garments for women, from handsome daytime and evening dresses to casual tennis outfits, a riding habit, and undergarments. Of practical use for costume designers and students of fashion; will also delight browsers.

Through clothing, we celebrate or suppress identity, indicate allegiances and communicate our positions, aspirations and desires. Little wonder, then, that so many contemporary artists are invested in exploring the role of clothing in the construction of self and society. Aware: Art Fashion Identity reflects on these artists and their work, and what it says about our physical covering and our constructed personal environments. Essayists Gabi Scardi, Lucy Orta and Joanne Entwistle consider issues of belonging, nationality, displacement and political and social confrontation in the artwork of Yinka Shonibare, Sharif Waked, Alicia Framis, Meschac Gaba, Dai Rees and Vito Acconci. Personal accounts of the role of clothing are drawn out through the work of Helen Storey, Marie-Ange Guilleminot and Claudia Losi, while the art and designs of Hussein Chalayan, Gillian Wearing and Andreas Gursky offer a platform for a discussion of the connection between fashion, clothing and performance.

Although her first magazine "Jill" remains an iconic reference even today, Babeth Djian has also initiated numerous other cult moments in the world of fashion, be it with "Vogue France", "Vogue Italie", "Glamour", "Mixte", and now "Numero". Some of the most renowned photographers, designers, make-up artists, hairstylists and models working in the fashion world today began their careers working with Babeth. She is always bubbling with enthusiasm: Jadore. Do it! She is a rare woman, daring, untamed, sophisticated, androgynous, a vamp so French! This book will include illustrations by major names such as: Mert Alas and Marcus Pigott; Inez van Lamsweerde and Vinoodh Matadin; Nathaniel Goldberg; Karl Lagerfeld; Peter Lindbergh; Jean-Baptiste Mondino; Guido Mocafico; Sofia Sanchez and Mauro Mongiello; Liz Collins; Solve Sundbo; Camilla Akrans; Greg Kadel; Dusan Rejlin; Ellen von Unwerth; Paolo Roversi; and, more.

In the huge and ever-growing accessories market, handbags have evolved into unique design pieces – status symbols that many aspire to own. In the last ten years the trend for ‘it’ bags, first initiated by Hermès in the 1950s with the Kelly bag, has taken off, making the luxury goods market extremely lucrative. Certain bag styles have achieved iconic status and are copied the world over, each with its own instantly recognizable name.

Featuring handbags from well-known fashion designers as well as up-and-coming new talent, this book showcases the most exciting and innovative handbag designers from across the globe, including CHANEL, Philip Lim, Chloé, Dolce & Gabbana and Marc Jacobs. Bag is beautifully illustrated with specially-commissioned photographs, alongside original sketches and moodboards, to reflect the rich and diverse range of bag design.

Seeking to understand the creative processes behind these covetable handbags, the book also includes an informed and considered commentary on the style and technique of each designer and brand featured.

Sue Huey is Senior Footwear and Accessories Editor at Worth Global Style Network. She previously worked as footwear and accessories designer for a leading international fashion house. Her first book, 'New Shoes', was published by Laurence King in 2007. Susie Draffan is a trend scout for a major high street retailer, specializing in street-trend photography and analysis – of which accessories are a major part. Previously she was Youth Editor at Worth Global Style Network.

Offers a unique survey of the bag in all its forms: handbags, travel bags, makeup and evening bags, pouches, purses and chatelaines, tie pockets, wallets and letter cases, reticules and more, covering virtually all styles and materials.

BAGS offers you a unique overview of the most important bags in the collection of the Museum of Bags and Purses. The book covers the history of the bag and its uses over the last 600 years, encompassing pouches, wallets, chatelaines, reticules, travel bags, minaudières, vanity cases, evening bags and well-known designer bags and It-bags. Read about Madonna’s bag, the cupcake bag featured in the TV series Sex and the City, and learn why the Kelly bag will continue to be timeless. Over the centuries, the bag has been influenced by trends in fashion, design and art, as well as by socio-cultural developments and the emancipation of women. BAGS presents the bag in all its diversity regarding its use, forms, materials and adornments. That’s why it’s a must for enthusiasts and professionals alike. The Museum of Bags and Purses is the biggest bag museum in the world and puts the history of the bag on display, from the late Middle Ages up to the present.

“We do what we can with fabric — but Balenciaga does anything he wants.” 

—Christian Dior

Cristóbal Balenciaga made his name in Paris in the 1940s and 1950s in the golden age of haute couture. He was hailed by Coco Chanel as “the only true couturier among us,” and his clients included Princess Grace of Monaco and the Duchess of Windsor.

This book is published to mark the inauguration of the Balenciaga Museum in Getaria, Spain, which will house a permanent collection of over one hundred pieces created by this master designer. It features an extraordinary selection of the most representative pieces from the Museum’s collection and includes four essays written by specialists on Balenciaga’s work.

Amalia Descalzo teaches Communication and Management in Fashion at the Centro Universitario Vellanueva. Miren Arzalluz is the curator and head of collections at Fundación Cristóbal Balenciaga. Pierre Arizzoli-Clémentel is the former director of the Musée des Arts Décoratifs in Paris. Lourdes Cerrillo is Lecturer in the History of Art at the University of Valladolid. Marie-Andrée Jouve was head of the Balenciaga archives from 1980 to 2003. Lucina Llorente is a specialist in materials and technical textiles.

Cristobal Balenciaga made his name in Paris in the 1940s and 1950s in the golden age of haute couture and was hailed by Coco Chanel as the only true couturier amongst us, able to design, cut, assemble and sew a dress entirely by himself. His clients included Princess Grace of Monaco and the Duchess of Windsor. This book is published to mark the long-awaited inauguration of the Balenciaga Museum in Getaria, Guipuzcoa, Spain, which will house a permanent collection of over 100 pieces created by the master designer. Four introductory articles by Balenciaga experts present new research and analysis of the designers work and assess his legacy, but at the heart of the book is a catalogue of the museums outstanding collection in over 500 wonderful illustrations. This beautiful book will be essential reading for both designers and anyone interested in Balenciaga's life and work.

More than three decades after his death, the Spanish couturier Cristobal Balenciaga (1895-1972) has become a legendary figure in the history of 20th-century fashion. This book examines Balenciaga`s design and business practice, placing him in the context of the time and country in which he learnt his trade and the international fashion scene.

Towards the end of her life, major exhibitions in London and Vienna brought Viennese artist Marie-Louise von Motesiczky (1906-1996) wide acclaim. This book invites Motesiczky`s work and situates the artist in the troubled history of her times. It tells the story of Motesiczky`s life. In the years following World War II, Cristobal Balenciaga emerged as a designer to be reckoned with in the world of haute couture. This illustrated book presents nearly 70 Balenciaga creations for day and evening, along with 25 hats, from the archives of the Texas Fashion Collection of the University of North Texas.

This was the profession of faith of the man whom Dior called ‘the master of us all’. Strict, even ascetic, Balenciaga was, with Chanel, Dior and Schiaparelli, one of the icons of the golden age of haute couture. The care he took with a garment’s construction, the perfection of his cut, his choice of materials, textures and colours, including an intense black, gave his vision of fashion and refinement a singular distinction, that became the fashion house’s famous signature.

Having presented his last collection in February 1968, Balenciaga decided to close his salons and to return to live in the country of his birth, Spain. Thirty years later, Nicolas Ghesquière re-established the artistic direction of the house, giving the venture – once thought to be finished – a new lease of life. Universally acclaimed for his freshness of vision, sobriety and a rigour that recalls that of his predecessor, Ghesquière is considered one of the most important creative personalities at work today.

Balenciaga Paris pays homage to this unique fashion enterprise, covering both stellar periods of the house – a span of some 75 years.

With a fascinating collection of photographs, sketches, illustrations and press comments, assembled by Pamela Golbin, curator at the Musée de la Mode et du Textile, the book presents a precise chronology and a detailed account of this two-part journey.

Designed by Fabien Baron, art director of Vogue, and featuring work by some of the finest photographers of our time, including Irving Penn, this publication provides not only the compelling history of one of Paris’s greatest fashion houses, but also constitutes a milestone of book design in its own right.

This innovative book presents dynamic and interpretive photographs of British ballgowns spanning 60 years and includes designs by Alexander McQueen, Bellville Sassoon, Bill Gibb, Erdem, Gareth Pugh, Stella McCartney and Zandra Rhodes. The specially commissioned photographs, by fashion photographer David Hughes, are supplemented by essays exploring the ballgown as a particularly British garment, with designers, clients and occasions unique to Britain. The social season of debutante parties and private balls, weddings and charity events have long provided Britain's fashion designers with opportunities to design elaborate, tour de force eveningwear. In more recent years the ballroom has been replaced by the red carpet. Though the context has changed, the ballgown remains a staple in many designers' collections and continues to serve as an expression of status, protocol and taste, while simultaneously embodying elements of drama and fantasy.
this publication.