From Publishers Weekly
This enormous compendium may be Ford's swan song as a designer, as he recently announced that he was quitting fashion to direct movies. But for the last 10 years, as the creative director at Gucci and Yves Saint Laurent, he took the brands in fresh directions. This huge, slipcased Festschrift checks in at 11"×14", and covers each of the Gucci years individually, compiling product shots, ads, runway candids, snippets of Ford wisdom ("I think you have to have personality at a brand—otherwise, it's just clothes"), Gucci-sporting celebrities and commercial stills. Vogue's Anna Wintour and Vanity Fair's Graydon Carter contribute a foreword and introduction respectively. The much-covered growth at Gucci and YSL are the real story behind the book, to the point where the press chat credits Ford with "carving out a new industry archetype: the businessman designer." But the 375 color and b&w photos, all culled from existing fashion archives, is more of a look back at how Ford's creations were presented (including year-by-year portraits of the photogenic Ford himself), rather than what led to their creation, how they were actually made or how they fit into the culture at large. As a 10-year time capsule of brand fashioning, the book succeeds perfectly.
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Product Description
Tom Ford has become one of fashion's great icons. In the past decade, he transformed Gucci from a moribund accessories label into one of the sexiest fashion brands in the world. His designs have increased sales at Gucci tenfold and have helped build the Gucci brand into the luxury goods conglomerate that it is today. Ford brought a hard-edged style synonymous with 21st century glamour to his clothes, and Hollywood sat up and took note.
This book is a complete catalogue of Ford's design work for both Gucci and Yves Saint Laurent from 1994 to 2004. It chronicles not only Ford's clothing and accessories designs for both houses, but also explores Ford's grand vision for the complete design of a brand, including architecture, store design, and advertising.
Tom Ford features more than 200 photographs by Richard Avedon, Mario Testino, Steven Meisel, Helmut Newton, Herb Ritts, Terry Richardson, Craig McDean, Todd Eberle, and numerous other photographers including many previously unpublished images.
Published to coincide with his departure from Gucci, this book has been created with Ford's full cooperation and every page reflects his exceptional taste. It is Ford's testament to a career of singular moments reinventing the boundaries of style and sensuality in clothing.

Manolo Blahník's shoes inspire fanatical devotion. "Manolo Blahník's shoes are as good as sex," Madonna has said. "And they last longer." Diane Von Furstenberg has more than eighty pairs; Paloma Picasso has been a fan since she was fourteen; Bianca Jagger and Kate Moss, to name just a few, are fellow addicts. For three decades, Blahník's sense of the theatrical wedded to the finest materials and superlative craftsmanship have held the fashion world spellbound, and his creations have graced the catwalks of great designers from Yves Saint-Laurent to Isaac Mizrahi to John Galliano.
Here, collected together for the first time, are over one hundred exquisite drawings that Blahník makes at the outset of the design process. These sketches are executed with such exuberance and deftness that they have become as sought after as the shoes themselves (they often fetch up to $15,000.00 at charity auctions). Inimitable in style, the drawings, beautifully reproduced in this book with special inks, vividly convey Blahník's unique vision. Whether it's a Grecian sandal designed for Galliano, with a snake-like strap slithering up the calf, or an emerald- and bead-fringed satin mule, the seductive attention to detail in the drawings conjures up the shoe itself.
Illuminating introductions by Anna Wintour and Michael Roberts explore why Manolo Blahník's shoes inspire such passion, and these are complemented throughout the book by the words of admirers including Suzie Menkes, Donatella Versace, and David Hockney. Michael Roberts also contributes a photographic essay showing Blahník at work in his studio, making sketches, preparing the wooden lasts, and supervising the production of his shoes at his factories in Italy. A final "scrapbook" section includes Manolo Blahník's own photographs of family, friends, and inspirational places. 150 illustrations, 120 in color.