This is Arthur Elgort's (born 1940) first comprehensive book, showing his world-renowned fashion imagery alongside his personal work. The Big Picture spans Elgort's five-decade career and illustrates his longevity as an emulated fashion photographer. His lively and casual shooting style is significantly influenced by his lifelong love of music and dance, particularly jazz and ballet. Elgort's 1971 debut in British Vogue created a sensation in the fashion world where his soon-to-be iconic snapshot style and emphasis on movement and natural light transgressed norms of fashion photography. Elgort subsequently rose to fame working for such distinguished magazines as American, French and Italian Vogue, Interview, GQ, Life and Rolling Stone and shooting advertising campaigns for fashion labels including Chanel, Valentino and Yves Saint Laurent.

For the past 30 years, I've been taking photos of people with cameras when on location, at home, and in my studio. During this time my camera collection has grown to over one hundred, and I still use every one of them! I got my first in 1965: a Nikon F. Next was a Leica M-2 with a Summicron 35mm lens. Soon after I moved into larger formats. First came a Graflex 4 x 5 and a Rolleiflex. Then Hasselblads, Linhofs and Mamiyas. My most recent purchase is a digital Olympus that I love to use for personal work. They are all close friends. I am truly camera crazy! I think the pictures in this book reflect that I am not the only one! --Arthur Elgort A master of the snapshot aesthetic, Arthur Elgort is one of the most famous camera-toting people in the world. In Camera Crazy, he takes pictures of other camera-toting people, from children to supermodels, from strangers back to himself. There's Cindy Crawford and Richard Gere, cameras at the ready. There's a crowd of paparazzi. It's an endless and ever-growing sea of lenses, this camera crazy culture of ours. Sometimes it seems as if we can't even see unless it's through a lens! And who better to capture the contemporary zeitgeist than the maestro of the framed moment: Arthur Elgort.

Arthur Elgort has always loved women. When he realized that striking up a conversation with them was easier with a camera he was hooked. While he made a career photographing models for fashion, he was also taking personal photographs of every woman he met along the way. This book is a compilation of images, many unpublished till now, of women throughout Arthur's life and career. It is Arthur's homage to women - their power, their beauty, their innocence, their joy, their strength. Featured among others are iconic female beauty such as Gia Carangi, Christy Turlington, Cindy Crawford, Polly Mellen.

A dazzling spectacle that takes flight, showcasing an intimate portrayal of both strength and softness from a plie to saute." -Mitchell Nugent, Interview Following his career-spanning monograph The Big Picture, Arthur Elgort pays homage to his first love and eternal muse in this new collection of photographs. Through Elgort's lens we encounter ballet not onstage but behind the scenes where the hard work is done. On this journey through the hallways and rehearsal spaces of some of the world's most distinguished ballet schools, including the New York City Ballet and the Vaganova Academy of Russian Ballet, we see previously unpublished images of legends such as Balanchine, Baryshnikov and Lopatkina. The perfection of the prima ballerina disappears in these quiet photographs where the viewer is able to witness the individual dancers' natural glamor as they work to perfect their craft. "From the first day I worked with Arthur," writes the hairstylist Christiaan Houtenbos, "I realized his prism is dance. He took its languid, exuberant perfection as his inspiration when he found himself a young Turk in fashion photography. It has to this day served as his anchor." Elgort's snapshot style allows the pain and pleasure of one of the world's most beloved forms of expressive dance to be seen with beauty. Arthur Elgort, born in 1940 in New York City, has photographed the world's most beautiful and talented people for over 40 years. He has published seven books to date, including Personal Fashion (1983), The Swan Prince (1987), Models Manual (1993) and Camera Ready (1997). In addition to Ballet, Edition 7L has published Camera Crazy (2004) and The Big Picture (2014).

The History of Fashion Journalism is a uniquely comprehensive study of the development of the industry from its origins to the present day, and including professionals' such as Dylan Jones's vision of the future. Covering everything from early tailor's catalogues through to contemporary publications such as LOVE, together with blogs such as StyleBubble, and countries from France through to the United States, The History of Fashion Journalism explores the origins and influence of such well-known magazines as Nova, Vogue and Glamour. Combining an overview of the key moments in fashion journalism history with close textual analysis, Kate Nelson Best brings to life the evolving face of the fashion media and its relationship with the fashion industry, national politics, consumer culture and gender. This accessible and highly engaging book will be an invaluable resource not only for fashion studies students but also for those in media studies and cultural studies.

The fashion model's hold on popular consciousness is undeniable. How did models emerge as such powerful icons in modern consumer culture? This volume brings together cutting-edge articles on fashion models, examining modelling through race, class and gender, as well as its structure as an aesthetic marketplace within the global fashion economy. Essays include treatments of the history of fashion modelling, exploring how concerns about racial purity and the idealization of light skinned black women shaped the practice of modelling in its early years. Other essays examine how models have come to define femininity through consumer culture. While modelling's global nature is addressed throughout, chapters deal specifically with model markets in Australia and Tokyo, where nationalist concerns colour what is considered a pretty face. It also considers how models glamorize consumption through everyday activities, and neoliberal labour forms via reality TV. With commentaries from industry professionals who experienced the cultural juggernaut of the supermodels, the final essay situates their impact within the rise of brand culture and the globalization of fashion markets since 1990. Accessible and highly engaging, Fashioning Models is essential reading for students and scholars of fashion and related disciplines.

Pedagogical Partnerships and its accompanying resources provide step-by-step guidance to support the conceptualization, development, launch, and sustainability of pedagogical partnership programs in the classroom and curriculum. This definitive guide is written for faculty, students, and academic developers who are looking to use pedagogical partnerships to increase engaged learning, create more equitable and inclusive educational experiences, and reframe the traditionally hierarchical structure of teacher-student relationships. Filled with practical advice, Pedagogical Partnerships provides extensive materials so that readers don't have to reinvent the wheel, but rather can adapt time-tested and research-informed strategies and techniques to their own unique contexts and goals.

In more than 2,000 issues, British Vogue magazine has acted as a cultural barometer, putting fashion in the context of the larger world in which we live - how we dress, how we entertain, what we eat, listen to, watch, who leads us, excites us and inspires us. The century's most talented photographers, illustrators and a rtists have contributed to it. In Lee Miller it had, unexpectedly, its own war photographer; in Norman Parkinson, Cecil Beaton, David Bailey, Snowdon and Mario Testino the greatest portrait and fashion photographers of their generation; and in Beaton and Irving Penn two giants of twentieth - century photography. From 1892, American Vogue chronicled the life of beautiful people - their clothes, parties, houses and habits - and the magazine was exported for intrigued British readers. In 1916, when the First Wo rld War made trans atlantic shipments impossible, its proprietor, Condé Nast, authorised a British edition. It was an immediate success, and over the following ten decades of uninterrupted publication continued to mirror its times - the austerity and optimi sm that followed two world wars, the 'Swinging London' scene of the sixties, the radical seventies, the image - conscious eighties - and in its second century remains at the cutting edge of photography and design. Decade by decade, Vogue 100 : A Century of St yle celebrates the greatest moments in fashion, beauty and portrait photography. Illustrated throughout with well - known images, as well as th e less familiar and recently rediscovered, the book focuses on the faces that shaped the cultural landscape: from Matisse to Bacon, Freud and Hirst, from Dietrich to Paltrow, from Fred Astaire to David Beckham, from Lady Diana Cooper to Lady Diana Spencer. It features the fashion designers who defined the century - Dior , Galliano , Balenciaga, Saint Laurent, McQueen - and explores more broadly the changing form of the twentieth - century woman.