Chablis has a distinct identity amongst the wines of Burgundy. The gently sloping vineyards of this small, scenic region produce a remarkably diverse range of wines, even though all are made from just one variety – Chardonnay.
As in other parts of France, it was the Romans who introduced vines and the medieval Church which expanded the vineyard. By the twelfth century the wines of Chablis, were already being celebrated in poetry. However, over the centuries a considerable amount of everyday wine also found its way via the river Yonne to the cafés of Paris. In its heyday of production towards the end of the nineteenth century the region encompassed 40,000 hectares of vines. But that was before phylloxera and oidium ravaged the vineyards and the railways brought competition from further south to the capital’s wine drinkers.
From a low point of 500 hectares just after the Second World War, the vineyard has now expanded more than tenfold, and quality has increased too. Wines in the appellation’s four categories – grand cru, premier cru, Chablis and Petit Chablis – are created by vignerons keen to work with the terroir to produce the elegant, mineral, long-lived wines for which the region earned its reputation. To this end, ever greater care is being taken in the vineyards and the routine use of chemicals is becoming increasingly uncommon.
The region’s history, unique soil, geography and climate are all covered in detail, but it is Rosemary George’s lively and insightful profiles of those who make the region’s wines that form the body of The wines of Chablis and the Grand Auxerrois. Through the lives of these vignerons – from the lows of disastrous weather to their love of the land – she paints a unique picture of a much-admired region.
César (1921-1998), an emblematic sculptor considered provocative by the critics of his day, achieved fame during his lifetime and stands as a major figure of the New Realist movement, alongside Yves Klein, Arman and Niki de Saint Phalle. The creator of a wide-ranging body of work, he is known for his human imprints (one of his Pouce sculptures stands in the Tuileries Gardens) and for his Compressions, the most famous of which is the César trophy awarded at the French film awards. He represented France at the Venice Biennale in 1994, a mark of his international recognition. Twenty years after his death, the Centre Pompidou staged a retrospective, gathering together more than a hundred of his works from collections around the world. This book is a reissue, expanded with 150 new catalogue entries, of an edition conceived in close collaboration with the artist in 1994; together with the author, he carefully defined, among other things, the layout, titles and dating of the works. Faithful to César’s own wishes, this new edition is the first volume of a trilogy of catalogues raisonnés, the essential reference for understanding his work. This first volume traces the early years of his career – his bestiaries and his work in iron – through to his first Compressions in the 1960s, richly illustrated with portraits of the artist and excerpts from interviews that bring readers close to his creative process.
Text in English and French.
The classic photo book portraying the denizens of the Chelsea Hotel in all their eccentric, bohemian glory — back in print in a revised and expanded edition.
When the young Brazilian photographer Claudio Edinger moved into the Chelsea Hotel in the late 1970s, on the recommendation of a friend, he was just looking for a place to live. He had little idea that this twelve-story Victorian Gothic pile at 222 West 23rd Street had been, for almost a century, one of Manhattan’s chief bohemian enclaves, where authors, writers, and musicians lived, played, and sometimes even worked. But Edinger was quickly fascinated by his new surroundings, and turned his lens on hotel residents both celebrated — like Warhol superstar Viva, stylist and nightlife impresario Susanne Bartsch, and composer Virgil Thomson — and obscure, from Dan the mime to Corey the porn starlet. Together, these portraits — taken in their subjects’ memorably decorated living quarters — form an invaluable record of the Chelsea Hotel community at one of the peaks of its flourishing, under legendary owner-manager Stanley Bard.
Chelsea Hotel met with immediate acclaim on its original publication in 1983; Edinger’s absorbing black-and-white photographs were wonderfully complemented by an introduction from Pete Hamill, dean of New York newsmen, and contributions from such legendary hotel residents as William Burroughs and Arthur C. Clarke. Now this highly collectible and sought-after book is back in print for the first time in decades, with additional, previously unseen photos from Edinger’s archives and intriguing where-are-they-now updates. The revised and expanded Chelsea Hotel will be a must-have for anyone who loves the creative side of New York.
One small step for a man, a giant leap for mankind and an extraordinary destiny for the watch that accompanied Man’s first steps on the Moon, thereby becoming the greatest icon in watchmaking history: the Omega Speedmaster “Moonwatch”.
Introduced to the public by Omega in 1957, the Speedmaster was designed for mainly sporting purposes, such as in motor racing. However, its fate took a completely different turn in the early 1960s. Astronauts going to space, some of whom wore a Speedmaster for private use, wanted to be officially equipped with a reliable, accurate and resistant watch. For this reason, NASA undertook a series of rigorous tests in extreme conditions in 1964 to select the best chronograph to accompany them on their space missions. The Omega Speedmaster won these tests and was officially certified (“Flight Qualified for All Manned Space Missions”) by NASA on March 1, 1965 for the Gemini project. It was in July 1969 that it truly made history, serving the astronauts of the Apollo 11 mission (Neil Armstrong, Buzz Aldrin and Michael Collins) for man’s first steps on the Moon.
This book retraces an extraordinary epic and the evolution of a unique and timeless watch which, from its beginnings in 1957 through to the current models, has remained endlessly fascinating. Updated and expanded to include the latest Omega models.
A new, thoroughly revised and expanded edition of the beloved Scotland guide by local Lauren MacCallum. Because she is so passionate about exploring new places, Lauren always has a list of new secrets ready to share. The new entries in this book include her favourite and recently discovered spots in Orkney Islands and the far north of the Highlands, like the coolest places along the North Coast 500. She also added, for example, the best activities in every season in her home area of Cairngorms.
This book isn’t your typical Scottish travel guide; instead, it aims to encourage you to define your own sense of adventure, to explore beyond the usual hot spots and get to know the real Scotland. It will help you to see beyond the tartan trinkets, Irn-Bru and haggis, and to experience the authentic life in Scotland, so you’ll understand what’s so unique about this small stretch of land and its inhabitants. The book covers an eclectic range of over 60 themes such as: unusual art spaces; gin and whisky distilleries worth a visit; amazing coastal walks; dramatic lochs and bookshops with character.
With her groundbreaking book Avant-Garde as Method, first published in 2020, architect and historian Anna Bokov offered the first scholarly exploration of art and technology education in the Soviet Union. This new, revised and expanded edition reflects the latest findings of Bokov’s ongoing research on the Higher Art and Technical Studios in Moscow, commonly known as Vkhutemas, and their pedagogical program. It features rich additional visual material that has been newly discovered in various archives since the publication of the book’s first edition.
Vkhutemas was the first school to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. It combined longstanding academic ideas and practices with more nascent industrial era ones to initiate a new type of pedagogy that took an explorative approach and drew its strength from continuous feedback and exchange between students and educators. Elaborating on the ways the Vkhutemas curriculum challenged established canons of academic tradition by replacing it with open-ended inquiry, Bokov shows how this came to be articulated in architectural and urban projects within the school’s advanced studios.
The Metropolitan Tower is the first English-language edition of an influential French standard reference on the topic of the urban high-rise, originally published in 2012. It summarises, interprets, and explains the research of French architect and teacher Michel Kagan (1953–2009). Featuring some 600 photographs, sketches, and plans, along with Kagan’s own writings and contributions by 26 distinguished international authors who respond to his ideas with key elements of their own research, the volume comprehensively explores the typology of the metropolitan high-rise since the birth of early modernism.
In contrast with the individual expressionism of a single building, Kagan proposes an “architecture of relationships” that considers above all the context: “Place is the most important material for urban planning, without which the city does not exist.”
For this new English edition, the book’s content has been revised, updated, and expanded in the light of new research conducted by faculty of the École Nationale Supérieure d’Architecture (ENSA) Paris-Val de Seine under the direction of Nathalie Régnier-Kagan. It offers a fascinating and multilayered panorama informing students, architects and critics alike on the topic of vertical architecture.
Imaging Heaven is a visual narrative of frescoed church ceilings, photographed across Italy and Catholic Europe. Moving from the Proto-Renaissance to the Baroque, the book follows painters as they confront a fundamental problem: how to make the unseen realm of heaven perceptible amid profound shifts in cosmology, theology, and science.
Guided by threads of light, gesture, and illusion, the photographs reveal how painters moved from shadowless gold grounds rooted in Byzantine techniques to radiant, sophisticated illumination; turned hieratic icons into anatomically precise, emotionally charged bodies; and dissolved architectural boundaries with a photographic study of trompe-l’oeil, quadratura, and di sotto in sù effects that open ceilings onto boundless celestial space. Works by artists such as Correggio, Pozzo, and Tiepolo mark key moments in this ascent to Baroque theatricality.
Imaging Heaven situates these painted heavens within wider intellectual shifts—from Aristotelian and Ptolemaic cosmology to Copernican and Galilean discoveries, and from Reformation turmoil to Counter-Reformation efforts to move and persuade believers. In this expanded universe, ceiling frescoes relocate the hierarchical cosmos onto church vaults, transforming churches into sacred theaters where radiant light, illusionistic depth, and emotionally expressive figures create immersive and engaging encounters with the divine, turning an upward glance into an experience of transcendence.
As the first English translation of Toshio Nakamura’s 2015 memoir, this expanded facsimile of Architects in Memories offers a new audience access to a seminal text that intimately charts the evolution of modern global architecture from a post-war Japanese perspective. As the founder/editor of the influential architecture magazine a+u, Nakamura was deeply engaged, personally and professionally, with leading figures in architecture worldwide, such as Louis Kahn, Philip Johnson, and Peter Eisenman. His diary records reflections from 1953 to 2015 and later became his memoir, chronicling personal observations, pivotal moments, interactions, and observations that collectively offer insight into the making of postmodern architecture and architectural culture.
The translation by Junichi Satoh carries images by Michael Moran. It is complimented by other media, expanding the original volume with essays by Kenneth Frampton and Ashley Simone, and images of each cover produced during Nakamura’s tenure as the editor-in-chief of a+u.
Introduce babies to dozens of animal shapes in this visually-stimulating addition to the Baby Montessori Expanded board book series. These shapes are easily recognisable due to the high-contrast images printed in the first three colours babies can perceive: red, black, and white. From household pets to wild animals, these chunky board books are the perfect introduction to shapes and animals for developing minds!
Designed with expert guidance, these sturdy board books feature easily recognisable animals and shapes, sparking visual development and early sensory growth with every glance.
Age-Appropriate Format: The square, sturdy format is perfect for small hands, encouraging dexterity and focus.
Inspired by the Montessori Method: Stimulate developing minds through this series of three-color, high-contrast images with no text.
Stimulates Early Growth: Simple shapes, bold colours, and immediate themes (like animals and the world) capture attention and encourage curiosity, early associations, and sensory growth, turning reading into a visual, multisensory experience.
Expertly Developed: Created in cooperation with cognitive development experts, focusing on visual clarity, safe materials, and effective communication for newborns.
Introduction to Animals: A first introduction to animals of all shapes and sizes.
Age 0 plus.
Introduce babies to dozens of everyday objects in this visually-stimulating addition to the Baby Montessori Expanded board book series. These shapes are easily recognisable due to the high-contrast images printed in the first three colours babies can perceive: red, black, and white. From favourite toys to household items, these chunky board books are the perfect introduction to common shapes for developing minds!
Designed with expert guidance, these sturdy board books feature easily recognisable animals and shapes, sparking visual development and early sensory growth with every glance.
Age-Appropriate Format: The square, sturdy format is perfect for small hands, encouraging dexterity and focus.
Inspired by the Montessori Method: Stimulate developing minds through this series of three-colour, high-contrast images with no text.
Stimulates Early Growth: Simple shapes, bold colours, and immediate themes (like animals and the world) capture attention and encourage curiosity, early associations, and sensory growth, turning reading into a visual, multisensory experience.
Expertly Developed: Created in cooperation with cognitive development experts, focusing on visual clarity, safe materials, and effective communication for newborns.
Introduction to the World Around the Child: A first introduction to common items found around a baby.
Age 0 plus.
For much of the first half of the 20th century, ethnographic literature paid little attention to the sculptural traditions of Nigeria’s many ethnic groups. The study of Nigerian art gained momentum in the 1950s through the pioneering work of William Fagg, whose books and exhibition catalogues focused primarily on the ancient art of Ife and Benin and on the Yoruba of the southwest.
In the late 1960s, numerous wooden sculptures from the Benue Valley emerged, bringing the art of the Igala, Idoma, Jukun, Mumuye and other peoples to international attention. Yet northern Nigeria remained largely unexplored. It was widely assumed that little or no wooden sculpture had survived in its Islamised regions.
This completely revised and expanded second edition presents sculptures in wood, bronze, stone and terracotta, revealing the rich and diverse artistic traditions of Northern Nigeria, from Yelwa in the northwest to Yola in the southeast.
The 18th International Architecture Exhibition, in Venice from May 20th to November 26th, 2023, is entitled The Laboratory of the Future. Conceived as “a kind of workshop, a laboratory where architects and practitioners across an expanded field of creative disciplines draw out examples from their contemporary practices that chart a path for the audience — participants and visitors alike — to weave through, imagining for themselves what the future can hold” (Lesley Lokko).
The Catalogue of the Biennale Architettura 2023 is divided into two volumes and follows the organisation of the Exhibition, accompanying visitors and architecture enthusiasts through the exhibition spaces of the Arsenale and the Giardini, and towards the other projects showing in various locations in the city of Venice and in Forte Marghera, in Mestre.
Volume I of the Catalogue, divided into different sections, opens with statements from the President of La Biennale di Venezia, Roberto Cicutto, and the Artistic Director of the Architecture Department, Lesley Lokko. One section is dedicated to the events of Carnival, a cycle of lectures, debates, panel discussions and performances that explore the themes of the 18th International Architecture Exhibition, followed by a section dedicated to Special Projects. The Volume then dedicates two sections to the International Exhibition, curated by Lesley Lokko, respectively titled Force Majeure and Dangerous Liaisons. Each project on display in the Exhibition is accompanied by a critical text and a rich iconography that completes the Participants’ work. A further section is dedicated to the first edition of the Biennale College Architettura, which will hold its workshop from June 25th to July 22nd, 2023, in Venice.
Threaded throughout are a series of essays developing the themes of the Exhibition and a detailed record of the works on display. Volume II of the Catalogue presents the National Participations and the Collateral Events of the 18th International Architecture Exhibition. The volume includes a series of illustrated texts that delve deeper into the projects on exhibit in the Pavilions and the Collateral Events at the Giardini, at the Arsenale and in various locations across Venice from May 20th through November 26th, 2023.
The graphic identity of the Biennale Architettura 2023 and the design of the publications are the work of Die Ateljee Fred Swart.
Roelof Louw (1936–2017) created sculpture from wooden slats, cast-iron wedges, sand-blasted and painted scaffolding poles, rope and neon. He made installations using industrial rubber bands, rolled-up lead sheets, or using tape recorders and the movements of viewers around a space. His work addresses itself to our bodies and minds, implicating them in its realisation and its sites, which might be streets, parks, woods or galleries.
In Soul City (Pyramid of Oranges) (1967), the work for which he is best known, the fit of an orange to a hand and the experience of eating the fruit are crucial aspects, as is the action of destroying the piece in the process. Prescient in anticipating the participatory and interactive art of the present, Louw’s work remained resolutely defined as sculpture, at the artist’s insistence. This was even so as sculpture became conceptual, ‘dematerialised’, or located in ‘the expanded field’, and while his art was itself a part of these shifts.
Born in South Africa, Louw moved to London in 1961. Practicing in London, New York and Cape Town, Louw participated in some of the most important episodes in sculpture history of the twentieth century. As well as being the first authoritative overview of Louw’s oeuvre, this book presents a new perspective on a familiar and much written about era in art.
This book features the collector/author’s well-informed views about a careful selection of mainly 19th century knotted pile carpets and flatwoven covers in various techniques from his own extensive collection, which has been built up over a period of more than five decades. Many of the rugs, which are all of the highest graphic and artistic quality, have been acquired without recourse to the open market and are therefore previously unseen and unpublished. Raoul (Mike) Tschebull’s long experience in the genre allows insights that go beyond the conventional wisdom of the traditional antique oriental carpet bazaar. His collecting career began under the aegis of one of the great US collectors of a previous generation, Joseph V. McMullan.
This beautifully illustrated book will include a general introduction to the region, which straddles the present-day border between north-western Iran and the Republic of Azerbaijan, setting the context for the focused presentation of some 70 examples, each with the author’s comments about design, structure, technique and attribution, providing a matrix within which dating can be considered. In-country field experience colours some of his views, and extracts from his field notes and accompanying images will be included the book.
This two-volume set marks Jo Farb Hernández’s fifty years of scholarship on art environments and the capstone of her work on self-taught artists who have built art environments in Spain. Singular Spaces II evolved from her 2013 book, Singular Spaces. Together these works constitute an encyclopaedic exploration of Spanish art environments and an epic narration of the stories of those who made them.
Singular Spaces II introduces and examines 99 artists and their intriguing and idiosyncratic sculptures, homes, and gardens, most of which have never been thoroughly documented or previously published. The author has cast a wide net to ensure all regions of Spain are represented, as are all kinds of spaces assembled with all kinds of materials.
These sites are developed organically, without formal architectural or engineering plans: they are at once evolving and complete. Often highly fanciful and quixotic, the work is frequently characterised by incongruous juxtapositions, the result of a dynamic approach to creation that may appear impulsive and spontaneous. But these artists and their works have much to teach us about the process of creation and also about the confidence to undertake a path radically different from the one they had followed during the prime of their working lives.
Hernández combines detailed case studies of the artists and their work with contextualised historical and theoretical references to a broad range of interlocking fields, including art, art history, anthropology, vernacular architecture, Spanish area studies, and folklore, complemented with compelling visuals of each of the artists and their artworks. Breaking down the standard compartmentalisation of genres, she reveals how most creators of art environments, building within their own personal spaces, fuse their creations with their daily life in a way generally unmatched in any other circumstances of making art, in the process providing an open self-reflection of their life and concerns. The universality of the need to create, and the issues that are confronted when one does so in a public and non-sanctioned way, are relevant to art and artists worldwide.
The Washington Alley Project: A Field Guide to Public Space Advocacy is a richly illustrated, practice-based guide that reimagines urban alleys as vital, inclusive, and participatory public spaces. Centered on Washington, D.C., this field guide blends design thinking, grassroots organising, and urban policy to offer a replicable model for civic action in overlooked spaces. At its core, the guide addresses a critical and often ignored component of urban design: the potential of alleys to serve as meaningful public spaces. In many American cities, alleys are perceived as hidden, utilitarian zones—reserved for waste collection, parking, or delivery access. The Washington Alley Project reframes this perception by demonstrating that alleys can support community interaction, small business growth, environmental sustainability, and artistic expression.
The guide is both a conceptual framework and a practical toolkit. Rather than focusing solely on design outcomes, the guide emphasises process—an open, iterative model of engagement and exploration. Crucially, the guide illustrates how design professionals can play a central role in public space advocacy. As spatial thinkers and community connectors, designers are uniquely positioned to translate civic aspirations into tangible design interventions. The project includes several examples of author-led initiatives that have demonstrated the impact of thoughtful, small-scale design in transforming public perception around alleys. Grounded in the success of the Washington Alley Project, the book provides both inspiration and instruction: visualising forgotten spaces in new ways and offering the tools to make those visions real.
Despite some field research our knowledge of the sacred among the Mumuye is still embryonic. In all these acephalic groups of a binary and antinomic nature, the complex va constitutes an extremely varied semantic field in which certain aspects are accentuated depending on the circumstances. Religious power is linked to the strength contained in sacred objects, of which only the elders are the guardians. Moreover, this gerontocracy relies on a system of initiatory stages which one must pass to have access to the status of ‘religious leader’. Geographically isolated, the Mumuye were able to resist the attacks of the Muslim invaders, the British colonial authority and the activities of the different Christian missions for a long time. As a result the Mumuye practised woodcarving until the beginning of our century. In 1970 Philip Fry published his essay on the statuary of the Mumuye of which the analysis of the endogenous network has so far lost nothing of its value. Basing himself on in situ observations, Jan Strybol attempted to analyse the exogenous network of this woodcarving. Thus he was able to document about forty figures and some masks and additionally to identify more than twenty-five Mumuye artists as well as a specific type of sculpture as being confined to the Mumuye Kpugbong group. During and after the Biafran war, hundreds of Mumuye sculptures were collected. Based on information gathered between 1970 and 1993 the author has demonstrated that a certain number of these works are not Mumuye but must be attributed to relic groups scattered in Mumuye territory.
Jewelry Stories highlights the Museum of Arts and Design’s unique, world-class collection of studio and contemporary art jewellery from the US, Europe, Australia, and Asia, a medium that comprises one-third of its permanent collection. Artists working in this field create jewellery rooted in sculptural experimentation and the concept of art as a wearable medium. The pieces featured represent the history of art jewellery as told from a largely US perspective. Jewellery artists are inspired by such subjects as found objects and materials, as well as by politics and pressing social issues, allowing for the development of unique, personal narratives in each piece. Each of the jewellery stories is written by an expert on the artist or subject, thus the book also celebrates the contributions they have made to the field.
Published to accompany an exhibition at Museum of Arts and Design, New York (US), on permanent display.
And there’s much, much more in this book. We live in an era of photographic images, and Mr. Tekulsky has provided the reader with 83 of the best photographs of America that you will ever see. According to Wikipedia, Americana is defined as “any collection of materials and things concerning or characteristic of the United States or of the American people and is representative or even stereotypical of American culture as a whole.” As such, Mathew Tekulsky’s book Americana: A Photographic Journey is a piece of Americana itself.
The volume traces over 50 years of activity in the field of industrial design by Antonio Citterio, one of the masters of contemporary design. Introduced by Andrea Branzi and Francesco Bonami, the volume – structured in seven chapters – offers an accurate and extensive account of a work that has seen the production of over 600 products, united by a stylistic code capable of combining a discreet and elegant modernity with a meticulous attention to detail: from the Diesis series and the Baia sofa, designed with Paolo Nava and which mark the beginning of a ten-year collaboration with B&B Italia, to the important collaborations with Flexform, Arclinea, Vitra, Flos, Axor, up to the most recent works with Cassina and Illy.
The rich iconographic repertoire includes product images, archival photographs – some of which tell the “behind the scenes” of the birth of some design icons – and autographed sketches.
Texts by Stefano Casciani, Francesca Picchi, Deyan Sudjic (former director of the Design Museum of London).
With the onset of the Anthropocene Era, concern for the metabolism of various kinds of settlement has risen appreciably. Of particular concern in the study of architecture and urban design are metabolic contributions of flows of stocks that go into the construction and operation of settlements of one kind or another. This book is about a methodological approach that allows urban settlement patterns to be re-written, as it were, into water, energy and other material flows emanating from original sources in the geosphere, biosphere, hydrosphere, and so on, through various stages of transformation during settlement construction and operation and then on to end-of-life activities. In short, the methodology produces a so-called ‘cradle-to-grave’ account of the material aspects of urban settlement from which technological and design proposals can be crafted ameliorating and diminishing adverse impacts, as well as related outcomes such as embodied energy and carbon concentrations so deleterious to climate change and proliferation of other hyperobjects.
This outstanding collection of North African textiles spans the Maghreb and the many peoples who have made it their home over the centuries. While craftspeople in urban centres excelled in the making of fine silk furnishings, rural communities produced garments for everyday and festive wear that were markers of identity and standing. Textiles of North Africa: The Crawford Collection features scholarship on the social and historical context that created such vibrant textile cultures, with lavish illustrations showcasing the enduring artistic appeal of these pieces.
In the hands of the world’s leading textile publisher, Hali Publications, previously unknown works from the collection create a captivating introduction to North African textiles. Contributions from leading scholars bring the weavers, dyers and embroiderers out of anonymity, shining a light on this understudied area of cultural heritage. The layout by award-winning designer Misha Anikst embodies the qualities often ascribed to these textiles: abstract, striking and minimalist. Guaranteed to speak to anyone with an interest in art, crafts and the Maghreb.
“Duffy and aggravation go together like gin and tonic.” – David Bailey
As famous as the stars he photographed, Brian Duffy defined the image of Swinging London in the 1960s. Together with David Bailey and Terence Donovan, Duffy is recognised as one of the innovators of ‘documentary’ fashion photography, a style which revolutionised the industry. Their attitude and aesthetic iconified the scene, birthing the cult of the fashion photographer and inspiring the famous film Blow-Up (Michelangelo Antonioni, 1966).
As Duffy put it, “Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!” The press nicknamed the three photographers ‘The Terrible Three’, while Norman Parkinson added to their notoriety by naming them ‘The Black Trinity’. Duffy’s most famous photograph is the ‘Mona Lisa of pop’, the cover of Bowie’s ‘Aladdin Sane’. He collaborated with the artist over eight years and exerted a direct influence on the numerous reinventions of Bowie’s image. It is fitting, therefore, that this new edition should expand on their work together with new images. This new edition of Duffy also features other, new images from the photographer’s archive, depicting both star and photographer in their prime.