NOVEDADES

Lost + Found is a visual recording of the times we live in and the issues we face, expressed through David LaChapelle’s unique and distinctive vision. Featuring a monumental curation of images that have never before been published in book form, it chronicles LaChapelle’s strongest images as a visionary to date while encapsulating our time in history.

Good News follows David LaChapelle’s creative renaissance as he surrenders to contemplations of mortality, moving beyond the material world in a quest for paradise. Featuring a monumental curation of images, it is a sublime and arresting new body of work that attempts to photograph that which can’t be photographed. It represents the final chapter to LaChapelle’s narrative in a collection of books that have captivated a generation of viewers across the globe.

Back in print for the first time in years, this classic of interior-design history showcases the masterful work of David Hicks (1929–1998), who is acknowledged as one of the most important designers of the late twentieth century, in the company of Billy Baldwin and Albert Hadley. Known for his bold use of color, eclecticism, and geometric designs in carpets and textiles, Hicks turned English decorating on its head in the 1950s and ’60s. His trademark use of electrifying color combinations, and mixing antiques, modern furniture, and abstract paintings became the “in style” for the chic of the day, including Vidal Sassoon and Helena Rubinstein. By the 1970s, David Hicks was a brand; his company was making wallpaper, fabrics, and linens and had outposts in eight countries, including the United States where he worked with the young Mark Hampton, and where his wallpaper was used in the White House. “My greatest contribution as an interior designer has been to show people how to use bold color mixtures, how to use patterned carpets, how to light rooms, and how to mix old with new,” he stated in his 1968 work, David Hicks on Living—With Taste, the last authoritative book on his work. Written by his son, Ashley Hicks, with unprecedented access to Hicks’s archives, personal photographs, journals, and scrapbooks, this book is a vibrantly illustrated celebration of a half century of stunning interiors.

In the 1980, fashion wanted to make a statement and found in legendary British fashion photographer David Bailey its perfect chronicler. After Bailey shaped the style of the Swinging Sixties, fashion in the eighties posed a new challenge: brighter colours, higher glamour, statuesque models, extreme makeup, spandex, lycra, jumpsuits, power dressing, big hair, and as Grace Coddington puts it in her introduction, “jackets with padded shoulders over the shortest mini-skirts and dangerously high-heeled shoes.”

Song of great sorrow. Even greater love. Lost between the timeless lines of Homer’s epic, the women of Troy finally stand to be counted. Their story is one you’ve never encountered, and it will change the fate of Troy forever. Andromache has proven herself a capable leader, but can she maintain that hard-won status now that she is the mother to the city’s long-awaited heir? With enemies closing in, Andromache must bring together a divided city in time to make a final stand. Rhea is a Trojan spy, but she never expected to find love in the enemy camp. When the final battle lines are drawn, Rhea must decide where her loyalties lie and how much she is willing to lose. Helen is no longer the same broken woman first brought to Troy as a captive. Given a second chance at life, she must cast off her shroud of grief and use her healing gifts to save Troy’s greatest hope. Cassandra has seen Troy’s fate. But she knows the truth is only as valuable as the person who tells it . . . and few in Troy value her. All that is about to change. One hero will rise, another will fall . . . and this time, Cassandra will have her say.

“Las cuestiones de la conciencia de la forma, la belleza y la armonía no me interesan tanto a nivel abstracto como en la medida que afectan a la vida cotidiana y en relación con el arte de vivir. La vida cotidiana, si nos fijamos en las teorías orientales del arte, es un aspecto central del camino del artista.” Como en el arte o en el diseño, carecer de forma implica dispersión y pérdida de referencias, quedar expuesto a los fenómenos externos sin ritmo ni control. Dar forma a lo cotidiano es una invitación a poner en valor nuestra realidad tangible y manejable, a trabajar la atención plena sobre las cuestiones básicas que rigen nuestra cotidianidad ―la alimentación, el amor, los medios de comunicación, la vestimenta y nuestras posesiones― y conectar con ellas de forma consciente, limitando sus contornos y encontrando su lugar en la red que conforma nuestro fundamento vital.