Walter Albini, 1979

guido crepax

karlheinz weinberger

#davidbowie in 1979

boy george wearing westwood, 1982. #worldsend #pirate #viviennewestwood

#commedesgarcons #1979

more #commedesgarcons amazingness. this one is 1976.

finally getting round to sorting through these properly! #commedesgarcons #1977

Brussels finds

firme, 1978. east l.a. lowrider magazine.

a magazine new series no. 1 by maison martin margiela

tigras, such an elegant means to premature death.

bruce weber, 1983

respect to the 80s skinhead that puts an aquascutum scarf on his dog.

factory, 1968

edie sedgewick having a bop around the factory, late sixties

boy london. designed by malcolm garrett, styled by @judyblame and modelled by david sims (!)

Eva Ionesco in a photobooth smoking a fag. probably late 70s.

six for spring. new catalog online at www.november-books.com

heartbreak for breakfast, yum

NY streetstyle by bill cunningham, 1982

a hundred summers, a hundred winters. bertien van manen. insanely good.

@launette scheduled flight arrival, wednesday a.m.

soul club membership cards, late 70s - early 80s

Andy Warhol's Interview / First Issue November 1969

Great. Super rare first issue of 'The Crystal Ball of Pop'. Constructed of interviews with up and coming Super Stars, and essays on film. Interviews with Michael Sarne; George Cukor; Donald Lyons on "Justine or Camille"; Amy Sullivan with Mark Frechette and Daria Halprin; 'What It's Like to be a Star and Live in a Hollywood Palace" by Taylor Mead; "Feast of Friends" by Jerry Hopkins; "Interview with Agnes Varda concerning her new film, Lions Love"; "Spirts of the Dead" by Wheeler Dixon; "Towards an Even Newer Cinema" by Heldon Renan; "The Starlet" by Dion McGregor; "Peter Fonda as Scorpio Risen" by Richard Lorber; ""Seeing Double" by Robert Weiner; and "The Permance of Sharon Tate" by Gerard Malanga and lots of brilliant images. An amazing piece of pop history. 

Mary Ellen Mark / Streetwise

 

The book of the film Streetwise by Martin Bell, Mary Ellen Mark and Cheryl McCall- which portray's the lives of 9 teenagers growing up on the streets in Seattle. From the introduction: 'The children of Pike Street are runaways; when I first saw Mary Ellen Mark's photographs of them--in the spring of 1983--I knew they were perfect characters for an important story, because they were both perfect and important victims. The characters in any important story are always victims; even the survivors of an important story are victims. At the time, Seattle's Green River Killer had already murdered 28 young girls, yet the teenagers of Pike Street were holding their own --pimps, prostitutes, and petty thieves, they were eating out of dumpsters, falling in love, getting tattooed, being treated for the variety of venereal diseases passed on to them by their customers. / All teenagers plan for unlikely futures--"three yachts or more"--and lifetime lovers, but the children of Pike Street must conduct their dreaming in the presence of expediencies far darker than most Americans can imagine. Tiny is a fourteen-year-old girl, malnourished, an accomplished prostitute with a lengthy record of occupational diseases; her alcoholic mother says that Tiny's prostitution is "just a phase." Dewayne is a sixteen-year-old boy; he visits his father, a failed arsonist, in prison. Dewayne's father fails as a father, too; Dewayne is one of the victims of Pike Street who won't survive this story--' . A frank photo documentary of street children in mid-eighties America.

Tony Ray Jones / A Day Off

Beautiful document of the British at leisure. Ray-Jones spent some time in America during the early to mid 1960s, training as a graphic designer at Yale and later with Alexey Brodovitch. On returning to England in 1966 he sought to photograph the ‘English Way of life’, in particular how people spent their leisure time. ‘I want my pictures to bite like the images in Buñuel’s films which disturb you while making you think. I want them to have poignancy and sharpness but with humour on top My aim is to communicate something of the spirit and the mentality of the English, their habits and their way of life, the ironies that exist in the way they do things, partly through tradition and partly through the nature of their environment and mentality.’   Roth in The Open Book pp.302-3. A real classic.

Helen Levitt / A Way of Seeing

A sharp copy of this classic book shot in the late forties in Yorkville, Lower East Side and Spanish Harlem. According to Parr and Badger: "Levitt's photographs are beautiful--major underrated works. Like Henri Cartier-Bresson, she achieves a rare balancing act: her pictures have sentiment without being sentimental, always maintaining an objective distance...The casual observer of these pictures, dazzled by their poetry, could easily miss the harsher realities masked by the surface warmth and joie de vivre.”  The New York Times stated, "Helen Levitt was the first American photographer to fully comprehend the essence of Henri Cartier-Bresson's photographic message and put it into practice. Like Cartier-Bresson, she understood how to combine intuition and intellect to forge sophisticated, lyrical compositions from commonplace events.” Quite beautiful.