Contents

Foreword 5

Introduction 6–11

Indulgence 12–13

Identity 14–18

Cards 19–23

Designer Portrait 24–30

Poster 31–37

Hearts & Flowers 38–47

B & W Illustration 48–53

Handkerchief 54–60

Cut-out 61–67

Monogram 68–73

Shiny 74–80

Minimal 81–90

Words 91–95

Colour Illustration 96–101

Punk It Up 102–07

Futureworld 108–11

The Dark Side 112–23

Numbers 124–25

The Great Outdoors 126–33

Shownotes 134–35

Designer Sketchbook 136–41

Cute 142–45

Correspondence 146–55

Travel 156–61

Shopping 162–67

The Total Package 168–71

Keys 172–73 X-rated 174–83

Fabrication 184–91

The Art Set 192–97

Nostalgia 198–03

Notebooks 204–06

Pop-up 207–11

Boy Meets Girl 212–13 Birds 214–17

Fire, Ice & Water 218–25

Star Billing 226–35

Brand Name 236–43

Repetition 244–49

Plastic 250–51

Music 252–59

Dressmaking 260–65

Boxing 266–67

Wristband 268–69 Feet 270–73

Africa 274–77

Eyes 278–85

Collage 286–89 Celebrate 290–93

Formal 294–95

Collective 296–99

Farewell 300

Acknowledgements 301

Index 302

Foreword by Anna Sui

I certainly spend a lot of time and effort thinking up new ideas for my bi-yearly fashion show invitations. For me, the trick is to allude to the theme of the collection, without giving away too much.

I’m very involved with all the details; the artwork and graphics, the weight of the card stock, the printing effects, the envelope colour, even which postage stamp to use. All aspects help tell the story by creating visual imagery around the collection.

I’ve always been a big collector of paper ephemera. It started out as a box of magazine clippings I saved under my bed as a kid growing up in Detroit. Now it practically fi lls a whole closet! I call it my “Genius Files”. I refer to them almost every day. I’m still constantly adding things; making Xeroxes from library books, printing out images from the Internet, ripping out pages from magazines, saving postcards, snapshots, invitations, handbills from rock concerts. These nostalgic artifacts always inspire, and can transport me in a very emotional way.

Invitation Strictly Personal is a glorious archive of a particularly ingenious creative niche that may never have been properly documented before. These are the things the general public never sees. It’s certainly an inspirational resource for fans of fashion, but also to anyone interested in design, graphics and pop culture history. Iain R. Webb has stylishly curated this splendid collection that is great fun to browse through. It’s a wonderful addition to my personal library; one that I will be referring to often…

15I D E N T I T Y

Moschino Cheap and ChicThis invitation was designed as a 16-page passport for the beanpole cartoon character Olive Oyl, listing her measurements as 19” – 19” – 19” and her shoe size as 14AAAAAA. The photograph pictured model Pat Cleveland, dressed as a doppelganger in an uncanny resemblance. Underneath “Important Information”, one entry in the passport recommended: “Since our show is at 9am we advise that you arrive in the city the day before. That way you get enough rest to feel fresh enough to remember to bring your happy face along”, while another warned: “Photocopies of this invitation are not valid, even if they are fancy colour copies. We really don’t care if you doodle all over this invitation or dribble your cappuccino on it.” As ever, humour was uppermost, with the fashion house playfully teasing its guests: “Some people may be fortunate enough to be invited to more than one event at the same time. We advise that they come to our show”.

ShowSpring/Summer 1997

Date/Time30th October 19969am

PlaceCFDA PavilionBryant Park20 West 40th StreetNew York

Format/SizePassport (folded)13cm x 9cm(5in x 3½ in)

83M I N I M A L

ShowSpring/Summer 1996

Date/TimeOctober 1995

PlaceCarrousel du Louvre 99 rue de RivoliParis

Format/SizePlastic “Kelly” bag25.5cm x 31.5cm(10in x 12½in)

HermèsA fashion collection and surrounding promotional material can be influenced by cultural, social and even political events. During the summer of 1995 a spate of fatal bombing attacks on the French capital brought terrorism to Paris. A direct outcome was the heightened security surrounding the Spring/Summer 1996 shows, especially those held in public locations such as the Carrousel du Louvre.

Hermès sent their invitation to select journalists in this clear plastic version of the label’s iconic “Kelly” bag, printed with the words: “A SPECIAL FOR SECURITY BAG CHECKS”. This bag became a coveted front row item, especially when model Amber Valletta opened the show, carrying the plastic Kelly with a smaller leather version inside. But there were no signs of stress in this cool, elegant collection embodied by the line-up of models including Georgina Grenville, Christina Kruse and Carolyn Murphy. The sheer theme returned after dark, with black, pearl grey and café-au-lait see-through shirts worn with wafting chiffon skirts.

1 1 6 T H E D A R K S I D E

This show, another production where Alexander McQueen pushed his audience and his models to the edge, took its name from John Boorman’s 1972 brutal movie, Deliverance. The staging referenced Sydney Pollack’s 1969 film, They Shoot Horses, Don’t They?, which revealed the horrors of the Depression era dance marathons, where contestants literally danced till they dropped in an effort to win the much-needed prize money. As if that was not tough enough, at intervals they were required to run around a racetrack. McQueen engaged avant-garde dancer Michael Clark to choreograph models and dancers in an extraordinary performance. A standout moment featured model Karen Elson in a silver sequinned gown, slow-dancing with her handsome partner, both appearing on the verge of total exhaustion. Sections of the show were performed in slow motion, which added to the overall sense of hopelessness.

Alexander McQueen’s sensual collection of flirty dresses and sporty jerseys provided an uplifting lightness in shocking contrast to the harsh reality of the presentation. However, once again the show provoked censorious reviews, questioning the designer’s motives.

ShowSpring/Summer 2004

Date/Time 10th October 20038.30pm

Place Salle Wagram39 avenue de WagramParis

Format/SizePrescription box14.5cm x 12cm(5¾in x 4½in)

Alexander McQueen

1 2 4 N U M B E R S

ShowAutumn/Winter 1995–6 Autumn/Winter 1996–7

Date/Time 15th March 1995, 5.30pm14 March 1996, 8.30pm

Place Chemin de Ceinture, Paris39 avenue de Wagram, Paris

Format/SizeCard21.5cm x 10cm(8½in x 4in)

Maison Martin MargielaMaison Martin Margiela employed these cut-out cardboard numbers for several seasons. They were used to denote where the guest would be seated. This no-frills, bare-bones approach has always been at the heart of the Margiela brand. Here, the information is rubber-stamped by hand. Margiela also uses this pragmatic approach for the labels stitched inside his clothes. It is not so surprising that the designer who has snubbed publicity throughout his career and shunned posing for promotional portraits should consistently shroud his models’ identity. In his Autumn/Winter 1995 show he wrapped the models heads in fabric, while for Autumn/Winter 1996 the top half of each girl’s face was painted black. This shaded effect was enhanced by the lighting as each model was followed by an attendant holding aloft a giant spotlight, which illuminated them alone. Most recently, models have worn jewel-encrusted masks completely encasing their heads. One such mask was later worn by rapper Kanye West.

2 0 8 P O P - U P

Louis VuittonThis pop-up invitation clearly stated the theme of the collection as being “a tale of two cities”, Paris and Tokyo, which also appeared on the catwalk spelled out (literally) in metallic letters on the models’ belts. The catwalk itself featured a massive mirrored sphere, reflected in the silvered arrow pins that pierced jackets and coats and the pointy metallic toecaps of the shoes worn by the slick-looking models. As a brand, Louis Vuitton spells luxury, luxury, luxury and, in his second season as creative director, Kim Jones made the most of the company’s extraordinary resource, the team of talented artisans who dream up futuristic fabrics, which they use alongside silk handwoven in Japan. Travel is embedded in the DNA of both Jones and the fashion house, so the collection was a homage to these two diverse cultures. For those who couldn’t make it to Paris, the show was beamed live, not from the top of the Eiffel Tower but via the company’s website and Facebook page. Totally modern.

ShowMenswearAutumn/Winter2012–13

Date/Time 19th January 20122.30pm

Place Serre du parc André Citroën2 rue de la Montagne de la FageParis

Format/Size Card (unfolded) 25.5cm x 25.5cm(10in x 10in)

2 5 2 M U S I C

ShowSpring/Summer 1996

Date/Time15th October 19956.30pm

PlaceThéâtre des Champs Elysées 15 avenue MontaigneParis

Format/SizeCardboard box, fabric, paper12cm x 21cm x 6cm(4¾in x 8¼in x 2½in)

John GallianoAnother masterpiece theatrical production, appropriately staged in the Parisian playhouse where the celebrated Russian ballet dancer Nijinsky had performed the scandalous Rite of Spring in 1913. The sheet music was part of an elaborate box of tricks also containing a ballet pointe shoe. As crowds fought to get inside the theatre, guests took their seats, including a number positioned onstage. Galliano had said he wanted them to experience the crazy backstage ambience and smell the greasepaint so models gave a tour de force performance as they emerged through trap doors and wandered the aisles, acting out the designer’s latest fantasy.

The loose narrative for this collection included a female version of William Golding’s novel, Lord of the Flies, Boldini’s “Contessa Casati” (a constant inspiration for Galliano), Degas’ ballerinas (model Shalom Harlow wearing a frou-frou tutu pirouetted bravely on the balcony!) and Romanian sculptor Brancusi. In clothes terms that translated as a mix of embroidered broderie anglaise ruffl es, bias-cut satin and taffeta evening gowns and sleek grey and black suiting.

269W R I S T B A N D

Louis VuittonIn 1997 the French conglomerate LVMH announced the surprise appointment of Marc Jacobs as creative director of Louis Vuitton. Even more surprising was Jacobs’ debut Autumn/Winter 1998 collection for the brand, which offered a stripped-down, minimal look in white, black and grey, with touches of olive green, claret and sky blue. The collection was devoid of logos, save for the understated LV initials embossed into one leather messenger bag toted by Kirsten Owen. Yet Jacobs’ remarkable vision had an immediate effect with the poster boy of New York’s avant-garde transforming the somewhat tarnished bourgeois brand into one of the most coveted labels on Planet Fashion.

This LV stamped logo featured the following season on pastel-coloured backpacks, purses and even a case for a cigarette lighter. It was later used for a collection of city bags and small leather goods, called “Monogram Mat”, launched in July 2002. The wristband that was part of the press kit became a cult accessory.

ShowPromotional gift

Date July 2002

Place Paris

Format/SizeLeather studded wristband

23cm x 4cm(9in x 1½in)

283E Y E S

The mood for fashion inspired by Orientalism was already bubbling on the catwalks of Europe (with Miuccia Prada showing a much-lauded collection), so Chinese-born Vivienne Tam was a designer to go see during New York Fashion Week, which traditionally fell at the end of the season. Tam’s designs were never overly showy and she captured the mood for pretty spaghetti-strap frocks in delicate blossom print fabrics. More overt were her versions of authentic Cheongsam dresses sparsely decorated with bamboo print or embroidered dragons. The designer’s use of brocade and sequins added further glamour and was a foil for uniform-style tailored pieces. Posh Brit “It” girl Iris Palmer modelled, along with Carolyn Park-Chapman. With their hair clipped into topknots with metal headbands and smudgy cat’s-eye make-up, the look was a modern-day version of a geisha.

Tam’s recent optical catwalk antics include a dress featuring a portrait of US President Barack Obama sporting shades.

ShowSpring/Summer 1997

Date/Time 29th October 19965pm

Place Pavilion20 West 40th StreetNew York

Format/SizeCard6cm x 16.5cm(2¼in x 6½in)

Vivienne Tam

O C TO B E R 2 0 1 6

Enter the exclusive world of front-row fashion with this phenomenal collection of 300 contemporary show invitations. Spanning the past four decades, Invitation Strictly Personal charts key moments and events from all four fashion capitals: New York, London, Milan, and Paris.

In addition to the invitations in their various forms—whimsical, political, humorous, controversial, and artistic—the collection includes program notes, look books, posters, and promotional objects, all rarely seen outside the industry. From Chanel to Comme des Garçons and Moschino to McQueen, this book, expertly curated by Iain R. Webb, offers unique insight into the creative mind of each designer as well as a special opportunity to share in the fashion-show experience.

National print and online publicity campaign

Digital focus on fashion blogs and websites

IAIN R. WEBB is an award-winning writer and visiting professor of fashion at the Royal College of Art in London. During his career he has been fashion editor/director of BUTZ, Harpers & Queen, Elle, the Times, and the London Evening Standard, and has also written for The New York Times, British Vogue, Russian Vogue, and the Independent. Webb has published several books, including the highly acclaimed As Seen in BUTZ: Fashioning ‘80s Style and Postcards from the Edge of the Catwalk. Read Iain’s blog at hopeandglitter.wordpress.com.

For publicity inquiries, contact Blanca Oliviery at (646) 688-2548

or blanca@sterlingpublishing.com.

DISCLAIMER Reviewers are reminded that changes may be made in this uncorrected proof before books are printed. If any material from the book is to be quoted in a review, the quotation should be checked against the fi nal bound book. Dates, prices, and manufacturing details are subject to change or cancellation without notice.

October 2016 Lifestyle / Hair, Makeup & Fashion $45.00 (NCR)Hardcover8 ½" × 9 ¾" • 304 pagesISBN 9781847960849