Its story spans five continents and includes Franklin Delano Roosevelt, Ronald Reagan, Fidel Castro, Humphrey Bogart, Shirley Temple, Clark Gable, Billy Graham, Johnny Cash, Roy Rogers, the Rolling Stones, and of course, the three owners of Mulholland Farm: wicked Errol Flynn; Christian singer, songwriter, and radio star Stuart Hamblen; and rock n roll legend Rick Nelson. On the 100th anniversary of the birth of Errol Flynn, authors Robert Matzen and Michael Mazzone tell this remarkable story for the first time, revealing the peep holes, two-way mirrors, secret passageways, and wild parties...not to mention a bodysnatching. Errol Flynn lived in this house during his most prosperous years at Warner Brothers and through the course of the rape trial that would eventually ruin him. Errol Flynn Slept Here also documents the haunting of Mulholland Farm as described by the people who lived in this, the most notorious house in Hollywood.

    "Most fairy tales end with the girl marrying the prince. That's where mine began", says Diane Von Furstenberg. She didn't have to work, but she did. She lived the American Dream before she was thirty, building a multimillion-dollar fashion empire while raising two children and living life in the fast lane.Von Furstenberg's wrap dress, a cultural phenomenon in the seventies, hangs in the Smithsonian Institution. "No one was making a little bourgeois dress, so I did," she told Newsweek in her 1976 cover story. The dress achieved such popularity that in the five years it was on the market, Diane sold more than five million of them. Her entry into the beauty business in 1979 was as serendipitous and as successful.Diane learned her trade in the trenches, crisscrossing the country to make personal appearances at department stores, selling her dresses and cosmetics. "As I was learning to be a woman and enjoying being one, I was sharing my discoveries, designing for my needs, and making a business of it", she writes. That business had its ups and downs. Eventually, there was so much demand for and exposure of the dress that the market became saturated; on the verge of bankruptcy, she licensed that part of the business, focusing on her fragrance and beauty products.Von Furstenberg's personal world unraveled a bit in 1980 when her mother, Lily, a survivor of Auschwitz, had a breakdown. Diane of course knew about her mother's experience in the camps, though her mother had never wanted to dwell on it. She understood that her own need for freedom came from her mother's lack of it, and that her resilience derived from her mother's life lesson to always turn a negative into a positive.Leaving the glitz of Manhattan and the music of Studio 54 behind, Diane escaped to Bali with her children, returning inspired and renewed. With all of this energy, the cosmetics business flourished. But it grew so fast that in 1983 she found herself undercapitalized and was forced to sell.In 1985, having given up control of her brand to licensees and with her children away at school, Diane turned her back on America and packed for Paris. She spent four years in her new role as part of the literary scene there, trading in her spike heels for flat shoes and tweed.In 1990, she found she missed the chase and returned to New York to regain control of her name and relaunch her company. Frustrated by the degraded status of her brand and dismissed by the retail community, she searched for a new way to reconnect with her customers. She found it through the revolutionary new medium of teleshopping and once again became a success. However, she still wanted to return to retail.In 1997, as the wrap dress was making a comeback with the nostalgia for the seventies, Von Furstenberg, with the help of her beautiful daughter-in-law, Alexandra, redesigned the dress for the nineties and made her name relevant to a whole new generation.Now, at fifty, Diane works to make sense of the contradictions in her life: glamour vs. hard work, European vs. American, daughter of a Holocaust survivor vs. wife of an Austro-Italian prince, mother vs. entrepreneur, lover vs. tycoon. She emerges wiser, stronger, and ever more determined never to sacrifice her passion for life.

    This vastly inhospitable location, called the playa, is the site of Burning Man, where, within a 9-mile fence, artists called Burners create a temporary city devoted to art and participation. Braving extreme elements, over two hundred wildly ambitious works of art are created and intended to delight, provoke, involve, or amaze. In 2013, over 68,000 people attended – the highest number ever allowed on the playa. As Burning Man has created new context, new categories of art have emerged since its inception, including Art to Ride, Collaborative Art, Art for Social Change, and of course, Art to Burn.The Art of Burning Man is an authorized collection of the best of Burning Man art from 1986 through today. Experience the amazing sculptures, art, stories, and interviews from the world’s greatest gathering of artists. Get lost in a rich gallery of images showcasing the best examples of playa art with over 200 photos. Interviews with the artists reveal not only their motivation to create art specifically for Burning Man, but they also illuminate the dramatic efforts it took to create their pieces. Featuring the incredible photography of long-time Burning Man photographers, Sidney Erthal and Scott London, an introduction from Burning Man founder Larry Harvey, and a preface from artist Leo Villareal, this stunning gift book allows Burners and enthusiasts alike to have a piece of Burning Man with them all year around.

    With all eyes on them, the duchesses select clothes that send a message about their values, interests, and priorities. Their thoughtful sartorial strategies follow in the footsteps of Queen Elizabeth II and Diana, Princess of Wales, two towering figures known for using their personal style to great acclaim.With one section devoted to each woman, HRH is a celebration of their stories and their style, pairing hundreds of gorgeous photographs with extensive research. A picture emerges of the British monarchy’s evolution and the power of royal fashion, showing there’s always more than what meets the eye.

    Within months of Jezebel's May 2007 appearance on the new media scene, fans of the blog began referring to themselves as "Jezzies" in comment threads and organizing reader meet-ups in cities all over the world. By 2008, the devotion of the self-appointed Jezzies reached such a fever pitch that the New York Times ran a feature story about them and parody blogs and copycat websites began popping up right and left. With contributions from the writers and creatives who give the site its distinctive tone and broad influence, The Book of Jezebel is an encyclopedia of everything important to the modern woman. Running the gamut from Abzug, Bella and Baby-sitters Club, The to Xena, Yogurt, and Zits, and filled with entertaining sidebars and arresting images, this is a must-read for the modern woman.

    A substantial written component by Fischer details his upbringing on the outskirts of Zurich, Switzerland, and the hardships and triumphs he faced bringing the visions of his groundbreaking bands Hellhammer and eventually Celtic Frost to reality. In addition, the book includes an introduction by Nocturno Culto of Norwegian black metal act Darkthrone, and a foreword by noted metal author Joel McIver.Without question Only Death Is Real goes farther than any other source in exploring the origins of underground heavy metal. The wealth of visual information is astounding, both in terms of documenting early 1980s headbangers and exposing the still-relevant imagery of the first Hellhammer and Celtic Frost photo sessions. On top of that, the written chapters combine Tom Fischer’s often shocking stories with lengthy quotes from Martin Eric Ain and the other main Hellhammer members, explaining in intimately human terms how extreme metal was born.

    Hollywood stars have always furthered fashion’s cause of seducing the masses into buying designers’ clothes, acting as living billboards. Now, forced by the explosion of social media and the accelerating worship of fame, red carpet celebrities are no longer content to just advertise and are putting their names on labels that reflect the image they—or their stylists—created. Jessica Simpson, Jennifer Lopez, Sarah Jessica Parker, Sean Combs, and a host of pop, sports, and reality-show stars of the moment are leveraging the power of their celebrity to become the face of their own fashion brands, embracing lucrative contracts that keep their images on our screens and their hands on the wheel of a multi-billion dollar industry. And a few celebrities—like the Olsen Twins and Victoria Beckham—have gone all the way and reinvented themselves as bonafide designers. Not all celebrities succeed, but in an ever more crowded and clamorous marketplace, it’s increasingly unlikely that any fashion brand will succeed without celebrity involvement—even if designers, like Michael Kors, have to become celebrities themselves. Agins charts this strange new terrain with wit and insight and an insider’s access to the fascinating struggles of the bold-type names and their jealousies, insecurities, and triumphs. Everyone from industry insiders to fans of Project Runway and America's Next Top Model will want to read Agins’s take on the glitter and stardust transforming the fashion industry, and where it is likely to take us next.

    In a chapter illustrated by dozens of photos, she leads a virtual tour through the Hugh Hefner Sky Villa at the Palms, the Verona Suite (former home of Elvis Presley) at the Las Vegas Hilton and many more.She also takes a look at the wacky attractions on the road from Los Angeles to Las Vegas, the peripatetic history of this former desert outpost, the evolution of the Vegas showgirl, the restaurants and clubs that pack the city and all of the activities and attractions that make the city so much fun. Holly provides behind-the-scenes looks at Peepshow and her TV reality show, Holly's World, and provides tips on looking fabulous in the desert, from what to pack to how to keep makeup from melting away in the extreme summer heat.

    Now, women are trading in their khakis for couture and their pumas for pumps. Finally, it's hip to dress well again. Emmy-Award winning costume designer Janie Bryant offers readers a peek into the dressing room of Mad Men, revealing the design process behind the various characters' looks and showing every woman how to find her own leading lady style--whether it's vintage, modern, or bohemian. Bryant's book will peek into the dressing room of Mad Men and reveal the design process behind the various characters' looks. But it will also help women learn how fashion can help convey their personality. She will help them cultivate their style, including all the details that make a big difference. Bryant offers advice to ensure that a woman's clothes convey her personality. She covers everything from where to find incredible vintage clothing and accessories to how to pair those authentic pieces with modern shoes and jeans. Readers will learn how to find their perfect bra size, use color to convey a mood, and invest in the ten essentials every woman should own. And just so the ladies don't leave their men behind, there's even a section on making them look a little more Don Draper-dashing.

    Buying clothing through the mails had become an American institution, and entire families were often dressed via the U.S. Post Office. More conservative than the up-to-the-minute fashion shops, mail-order catalogs nevertheless offered surprisingly much of the haute couture. But, above all, they accurately record what men, women, and children were actually wearing in the 1920s.Now Stella Blum (Curator of the Costume Institute at the Metropolitan Museum of Art, New York) has distilled into this volume the essence of the fashion pages of the Sears, Roebuck and other mail-order catalogs of the Twenties. Her informative text and selection of over 150 representative catalog pages — comprising over 750 illustrations with original captions — gradually trace the evolution of dress modes from the vogue of stodgy postwar fashions to the impact on costume of the crash of '29. In a year-by-year survey, Mrs. Blum's introductory texts relate the trends in fashion to the social changes of the dynamic and restless era, assessing the influence of war and technological developments on the high hemlines, flattened busts and hips, geometric patterns and "bobbed" hairstyles of the boyish flapper look. And as she notes, it was through the Sears catalogs that Parisian designers like Coco Chanel, Jeanne Lanvin, and Madeleine Vionnet made their influence felt on Midwestern farms and in urban ghettos.You'll find here a marvelous panorama of "smart," "modish," "chic," "stylish," and "ultra fashionable" apparel, as well as more traditional garments: for women and "misses" there are Middy blouses, Russian boots modeled by Gloria Swanson, "Bob" hats modeled by Clara Bow and Joan Crawford; coats, suits, dresses (including the first maternity dresses), sweaters, capes; silk and rayon stockings, corsets, chemises, camisoles, negligees; and accessories like necklaces, belts, combs, headbands, umbrellas, gloves, compacts, hand bags, wristwatches, and powderpuff cases. You'll see slower-to-change men's fashions — shirts, ties, suits, sweaters, and sports clothes — become trimmer, brighter, smarter. And you can follow the trends in children's fashions as well.For historians of costume, nostalgia buffs, and casual browsers, these pages afford a rare picture — unspoiled by recent myths about the Roaring Twenties — of how average people really dressed in the jazz age.

    From her career at the helms of Harper's Bazaar and Vogue, to her reign as consultant to the Costume Institute at the Metropolitan Museum of Art, Vreeland had an enormous impact on the fashion world and left a legacy so enduring that must-have style guides still quote her often wild and always relevant fashion pronouncements. With access to Vreeland's personal material and photographs, critically acclaimed biographer Amanda Mackenzie Stuart has written the ultimate behind-the-scenes look at Diana Vreeland and her world—a jet-setting social scene that included Coco Chanel, Elsa Schiaparelli, Yves Saint Laurent, Hubert de Givenchy, Oscar de la Renta, Lauren Bacall, Penelope Tree, Lauren Hutton, Andy Warhol, Mick and Bianca Jagger, and the Kennedys. Filled with gorgeous color photographs of her work, Empress of Fashion: A Life of Diana Vreeland is an elegant and fascinating account of one of the most revered tastemakers of the 20th century.

    and other things that matter, former Vogue UK editor Alexandra Shulman explores the meaning of clothes and how we wear them. From the little black dress to the white shirt and the bikini, she takes pieces of clothes and examines their role in her own life and the lives of women in general, touching on issues including sexual identity, motherhood, ambition, power and body image. A must-read for anyone, like Miranda Priestly, who knows that clothes might not maketh the woman, but they certainly help.' - Stylist 'Clothes... and other things that matter is a book not only about clothes but about the way we live our lives. From childhood onwards, the way we dress is a result of our personal history. In a mix of memoir, fashion history and social observation I am writing about the person our clothes allows us to be and sometimes the person they turn us into.' - Alexandra Shulman In Clothes... and other things that matter, Alexandra Shulman delves into her own life to look at the emotions, ambitions, expectations and meanings behind the way we dress. From the bra to the bikini, the trench coat to trainers, the slip dress to the suit, she explores their meaning in women's lives and how our wardrobes intersect with the larger world - the career ladder, motherhood, romance, sexual identity, ambition, failure, body image and celebrity.By turns funny, refreshingly self-deprecating and often very moving, this startlingly honest memoir from the ex-Editor of British Vogue will encourage women of all ages to consider what their own clothes mean to them, the life they live in them and the stories they tell.

    Her collaborations with artists such as Man Ray, Salvador Dalí, Jean Cocteau and Alberto Giacometti elevated the field of women's clothing design into the realm of art.Her story is one of pluck, determination and talent with scandal as spice. As the daughter of minor Italian nobility whose disastrous first marriage to a Theosophist caused near penury, she transformed herself into a designer of great imagination and, along with Coco Chanel, her greatest rival, she was one of the few female figures in the field at that time

    Style Deficit Disorder is the first book to explore this remixed, fast-forward fashion hotbed, profiling its most daring and influential designers, labels, stylists, and shops (including Comme des Garons, Hysteric Glamour, Super Lovers, A Bathing Ape, and Laforet). Featuring nearly 200 photos, essays by key Japanese fashion editors, and commentary by Edison Chen, Patricia Field, John Galliano, Shawn Stussy, Shu Uemura and others, this is a must-have, insider's look at an international fashion and pop culture epicenter, past, present, and future.

    Here the House of Chanel opens its private archives, revealing a galaxy of brilliant designs created by Coco Chanel from 1920 onwards. Dazzling clothes, intricate accessories, beautiful models, and timeless design leave no doubt as to the lasting fame of her name and embody everything that has come to symbolize the magic of Chanel.The book explores five central themes—the suit, the camellia, jewelry, makeup and perfume, the little black dress—and follows the threads from past to present to show how these key items have been rediscovered and reinvented by new designers. It includes many previously unpublished archive photographs and original drawings by Karl Lagerfeld, as well as glorious images from some of the greatest names in fashion photography.