Books published by Skira

From their forms to their movements, Cartier watches are unique. They are an enduring combination of the unexpected and the classical. This book chronicles Cartier's constant quest for excellence in the manufacture of complicated watches.

Matteo Civaschi , art-director and graphic designer, created Shortology with 16 books published across the world.

How connected are fashion designers to the body they design for today? Is there truly a way for the body to be trained in order to serve fashion? How can you manoeuvre emotion through your work? Each era has its dominant themes and fashion readily reflects them. Fashion as a reflection of society is also a privileged lens to see things more consciously. The necessity to sharpen the focus on the interlinked trilogy of the body, the mind, and politics is what has seamlessly been questioned in this provocative series of interviews. Curator, author, journalist, photographer and costume designer Filep Motwary releases his latest book ideated by Polimoda, THEOREM[A]: The Body, Emotion + Politics in Fashion. Formatted as a series of interviews with select contemporary fashion key figures, the book investigates the dressed body as a political statement, focusing on the linked trilogy of the mind, body and politics. In his provocative series of interviews, Motwary spoke with participants chosen for their professional integrity, their body of work and vast knowledge of historical and contemporary fashion, among other factors. Interviews were conducted with Hussein Chalayan, Jean Paul Gaultier, Pamela Golbin, Iris van Herpen, Harold Koda, Michèle Lamy, Thierry-Maxime Loriot, Antonio Mancinelli, Suzy Menkes, Violeta Sanchez, Valerie Steele, Jun Takahashi, Olivier Theyskens, Viktor & Rolf and Nick Knight. The interviews each explore the essence and perception of the body, poetic emotion and politics, touching specifically on the issues and controversies surrounding the current state of fashion.

Italian tailoring is a tradition of excellence in our country. In fact, clothes, especially men's tailoring, are veritable works of art, which conceal within the secrets and history of the city in which they are made. They are the product of a long tailoring tradition created from elegance and taste, where even the slightest detail is given the greatest care and attention. In fact, made-to-measure garments and shoes entail painstaking measuring and a transformation of these measurements into a perfect object, thanks to the skilled craftsmanship of tailors and of refined textiles. Detailed mastery for a unique, immediately recognizable style. This publication presents 28 historic tailor shops in Italy and their key protagonists (from Donnadio to Musella Dembech, Liverano&Liverano to Sartoria Napoletana, Rubinacci and Attolini to Caraceni, Ciardi and Pirozzi) in a complete guide across Italy, from north to south, in search of the haute tailoring and tailors who have shaped the world-famous Italian style.

The 110 year history of Internazionale FC of Milan is taken stock of with this book of great moments, pivotal characters and in depth coverage of the club's development.

Danilo Eccher has been Director of GAM Galleria civica d'arte moderna e contemporanea of Turin since 2009.

The ever recurring motif in author's art is the dolls mask, factory made and entirely standardized. In this title, she uses it as a symbol of mans need for disguise, of the restraints each of us has to impose upon our individuality in order to exist and to function socially.

Seen as a great artist in Colombia, elsewhere Bursztyn has remained relatively unknown. The publication is a comprehensive survey on pioneering art practice of Bursztyn and seeks to reflect on and animate new tendencies in research on Feliza Bursztyn and her vibrant body of work. It features texts by prominent writers, researchers and curators - Julia Buenaventura, Cecilia Fajardo-Hill, Camilo Leyva, Daniel Muzyczuk, Lucas Ospina, Sylvia Suárez, Gina McDaniel Tarver, Lynn Zelevansky - and rarely published archive materials. The publication inaugurates the Muzeum Susch and Skira Editore's series dedicated to re-discovering women artists overlooked by the main canons of art history. A pioneer in kinetic sculpture, Feliza Bursztyn (1933, Bogota-1982, Paris) created wrecked metal sculptures with ghostlike yet comical humanoid traits that addressed the social effects caused by the aggressive modernization of Colombian society. Composed of industrial junk, often motor-animated, these works perform a theater of dystopian industrial hybrids. Bursztyn's immersive installations are characterized by their disconcerting mechanical sound produced by the frenetic vibration of the sculptures, as well as by occasional music scores accompanying the pieces. The artist's works and sculptural mise-en-scènes enact sites of aesthetic resistance and antithetical political investment, creating a unique experience that raises awareness on the situation and the perception of women in a male-dominated society and reveal the troublesome face of modernity.

In this new collection, the internationally exhibited and award-winning documentary and fine art photographer, David Lurie returns to the terrain of the city, but this time with a specific visual agenda in mind which he shapes with the eye for a carefully composed frame of both a documentarist and a fine artist. Lurie¿s new collection strikes at the very heart of the dilemma of unequal access to the technological means of production ¿ the digital sphere, usually reached via the ubiquitous smartphone. With his aesthetic eye, skilful sense of composition, lighting and colour and, most importantly, a keen sense of the topicality and socio-political importance of what is contained within his frames, in his new project Lurie visually dramatizes the explosion of cheap and available camera technology built into smartphones, which has coincided with a corresponding explosion of the platforms on which their images can be seen ¿ social media. This seemingly extreme democratisation of image making in fact also disempowers, by turning the data inherent in all images ¿ locations, faces, frequency of images, likes and dislikes ¿ into monetisable information to be harvested and deployed by social media corporations. Street photography started out as a means to document and thereby understand new ways of living that rapid urbanisation and industrial work and leisure practices had brought about. As a medium, street photography focused on popular culture and the working classes as a result. The novelty of having one¿s lifestyle and values disseminated photographically is a mainstay of the street photography idiom ¿ one that is now overshadowed by the ubiquity of its post-capitalist, self-initiated forms. This very ubiquity conceals the ideology behind a variable and radically unequal access to digital culture, still very much organised along class and racial lines.