Laurence King Fall 2024 US Frontlist Catalog by Laurence King Publishing

Laurence King 2024 Fall Frontlist Catalog

Laurence King Carmelite House

50 Victoria Embankment

London EC4Y 0DZ

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Cover illustration taken from Heartstopper Official Fan Cards. See page 32-3 for product details.

2 Art & Lifestyle 12 Student & Professional 22 Gifts & Games 52 Children’s 60 Contacts Contents

A Pocket Guide to Adidas A Pocket Guide to Nike

Josh Sims (Author)

These are the first title in a new series devoted to the iconic global brands that define fashion today.

• 2024 marks Adidas’s 75th anniversary and Nike’s 60th anniversary.

• This is one of the first titles in a new series devoted to the iconic global brands that define fashion today.

• These pocketbooks are expertly researched and beautifully designed with archival fashion images throughout.

• The books make the perfect gift for style seekers and sneaker fans.

JOSH SIMS is a freelance style writer, contributing to the likes of the Financial Times, The Independent, Channel 4, the BBC, Esquire, GQ, Wallpaper* and i-D. He is the author of Icons of Men’s Style.

9781529438680 (A Pocket Guide to Adidas)

9781529438666 (A Pocket Guide to Nike) Hardcover

160 pages each OCTOBER 2024

$19.99 / £14.99

Approx. 90 color illustrations

Approx. 7.5 inches x 5.5 inches / 190 mm x 139 mm

2 ART & LIFESTYLE

The Story of Perfume

Élisabeth de Feydeau (Author)

Light, floral, exotic, or heady, perfume can be both a precious ally for self-care or or a weapon of seduction. From its origins in the scented oils of ancient times to today’s colossal cosmetics industry, the story of perfume is rich and enticing.

• This book is beautifully illustrated with 250 images, including rare documents.

• Written by a leading expert on perfume, a historian specialized in the luxury and fragrance industry.

• A gorgeous gift volume, as well as must-have resource for perfume enthusiasts.

ÉLISABETH DE FEYDEAU has a PhD in the history of perfume from the University of Paris-Sorbonne, teaches at the Versailles School of Perfumers and is a cultural adviser to leading luxury brands, including Christian Dior, Thierry Mugler, Chanel, Guerlain and Lancaster. She is the author of several books, including The Herbarium of Marie Antoinette and the novel A Scented Palace, both of which have been translated into several languages.

9781529432299

Hardcover

160 pages

250 images

AUGUST 2024

$50.00 / £38.00

Approx. 11.2 inches x 8.9 inches / 285 mm x 225 mm

3 ART & LIFESTYLE

16 17 PLANT-DERIVED MATERIALS Since ancient times, perfumes have been made from plant-derived raw materials such as blue lotus flowers, whose scents were deemed to come from the gods. Thought to carry creation god in their calyx, they are associated with the myth of creation and feature heavily in Egyptian iconography. Along with the papyrus flower, they symbolize the union of Upper and Lower Egypt, the two parts of the kingdom. Other Egyptian plants used included sweet galangal, narcissus, ben oil (from Moringa and benzoin. The first floral notes can be traced back to the Mycenaean civilization, where sage and especially rose oils were used. Some raw materials were very precious because they had to be imported. These included opoponax, and frankincense brought back from the mysterious Land of Punt, which Queen Hatshepsut tried to acclimatize to Egyptian soil (see page 13). In ancient times, the Nile valley became transit area for Boswellia and Commiphora gum resins from Arabia and the shores of the Red Sea (see box, facing page). Other imported aromatics of foreign origin were conifer resins and oils, terebinth resin and mastic from the Near East and eastern Mediterranean. Gradually, imports from the north diversified, but the southern trade routes were the most sought-after, becoming the object of Egyptian covetousness and supremacy. THE FIRST PERFUMES There is documentary evidence from ancient Mesopotamia that the first perfumes took the form of scented oils. The many variations available included primarily chufa, linseed, lettuce seed, sesame and ben oils scented with herbs, spices and flowers such as marjoram, white violet, blue lotus, narcissus, iris and rose. In ancient Egypt, perfumes and aromatic plants played key role in the daily rituals performed in temples. Many recipes for liturgical perfumes and burning gums and resins survive today. Among them, sonter (terebinth resin) was said to have the power to revive objects and places and so was used to extol the gods and awaken statues each morning. All these compositions were made by priests (the first perfumers), who were dutybound to make three offerings each day: resin in the morning, myrrh at noon and kyphi, the great sacred scent, in the evening. RAW MATERIALS AND THE FIRST PERFUMES PERFUME WAS OMNIPRESENT IN THE ANCIENT WORLD, USED FOR SPIRITUAL PURPOSES AND FOR BODY CARE. THE FIRST FRAGRANT SUBSTANCES WERE MAINLY RESINS AND PLANT-DERIVED RAW MATERIALS USED AS EARLY AS 4000 BCE IN FUMIGATION RITUALS. THEY WERE INTENDED FOR THE GODS AND WERE THE PRESERVE OF ROYAL FAMILIES. MYRRH AND FRANKINCENSE WERE PARTICULARLY PRIZED BY THE EGYPTIANS. Scene of funeral banquet, holding mandrake fruit and third smelling lotus flower, Fresco depicting priestess burning incense, sixteenth century BCE. Egyptian relief of women Incense and resins White incense, or frankincense, is resinous gum obtained by cutting the bark of the Boswelliasacratree, which produces a natural sap on contact with air. According to Egyptian legend, incense was brought by sacred Phoenix, as recounted by Ovid (43 BCE—17 CE) in Book 15 of his Metamorphoses Considered to be a gift from the gods, it accompanied prayers and offerings in daily rituals. It was also a component of the embalming resins used in funeral rites. The Egyptians also prized the precious resin extracted from Commiphoramyrrha or myrrh tree, which grew at an altitude of about 1000 metres (3281 feet) in Somalia, Ethiopia, Sudan and the Arabian Peninsula. Myrrh preserved the body during embalming and also revived the spirits of the faithful. It was a perfume for both life and death. One of the oldest perfume houses still in business L.T. Piver was never short of imagination. To accompany its many perfumes made from rare and precious ingredients, it launched comprehensive ranges of beauty and body cleansing products, such as perfumed gloves, rice powders, lettuce juice and marshmallow soaps, almond cream and iris milk. It is today reputed to be one of the oldest perfume companies still in business and has its own workshop in Grasse, where it creates cutting -edge formulas. L.T. Piver The company was founded in 1774, but it was Louis Toussaint Piver who really set it on the road to success when he took over in 1813. Inspired by creativity, quality and technological progress, L.T. Piver is one of the oldest perfume houses still in business today. Floramye fan, L.T. Piver, in wood and paper, circa 1924. À la Reine des Fleurs! In 1813, Louis Toussaint Piver took over a perfume shop that had been opened in 1774 and was called À la Reine des Fleurs (At the Queen of Flowers). It supplied perfumes, floral waters and scented products to the court of Louis XVI and foreign courts. Piver joined as an apprentice to the perfumer Pierre-Guillaume Dissey. He married the owner’s sister-in-law and the two men became partners in 1813, the company being known as ‘DisseyPiver, wholesale perfumers, 103, rue Saint-Martin’. Business grew so rapidly that they opened stores outside France as early as 1817. After Dissey died, in 1823, the small shop in rue Saint-Martin was turned into a storeroom and L.T. Piver opened a beautiful boutique next door, which soon thrived. Alphonse Honoré Piver, Louis Toussaint’s son, decided to join his father as a partner in 1837 and became the sole director in 1844. Alphonse Honoré Piver, the inventor in the family Alphonse Honoré Piver experimented with enfleurage and invented what is known as the pneumatic method. With Eugène Million, he devised an extraction process that used volatile solvents, which was considered groundbreaking for the perfume industry at the time. Alphonse Piver was hailed as an industry pioneer when he used the Million process for perfumes, using carbon disulphide in the distillation process to extract fragrances from iris roots and heliotrope flowers, two essences that were very much in vogue at the time. However, this process was difficult to put into practice because of the cost and the risk of explosion. Extraction came into common use at the end of the nineteenth century. Alphonse Piver also made synthetic products and, simultaneously, created hugely popular range of perfumes and beauty products. The clover accord With Trèfle Incarnat, perfumery really did make its entrance into the modern world. It was the first perfume based on an accord known as ‘trèfle’ (‘clover’ in English), which married floral notes with fougère, a perfume family that takes its name from the French word for ‘fern’. Its standout feature was Darzens’ new discovery, amyl salicylate. Subsequently, some old formulas were reworked to incorporate synthetic notes and many other perfumers followed suit. Some of the resulting creations were presented in high-end crystal bottles made by famous artists such as Lalique and Baccarat. Botanical drawing of incarnatum (crimson clover). L.T. Piver expands beyond France In 1846, L.T. Piver opened boutiques in London and Brussels. With its appointment as purveyor to Napoleon III in 1858, the company gained international renown and had up to 120 branches outside France. It was awarded medal at the 1862 International Exhibition in London, which was attended by many French perfumers. L.T. Piver continued to expand. It opened flower-processing plants, including one in Grasse and another in Aubervilliers, which specialized in cosmetics manufacturing. And to further its contribution to technological progress, the directors hired two chemists, Georges Darzens and Pierre Armingeat. The company is particularly well known for its perfumes Trèfle Incarnat (1896), Parfum d’Aventure (1931) and Cuir de Russie (1939).

Absolutely Chanel

Catherine Örmen (Author)

Coco Chanel is the most iconic and enduringly fascinating fashion designer in history; her namesake fashion house continues to reign supreme within the world of luxury.

• The only Chanel book to cover the story of the house of Chanel, from Coco Chanel’s genius to Virginie Viard’s current tenure as creative director.

• A one-of-a-kind publication containing facsimiles of artworks by Andy Warhol, Cecil Beaton, and Jean Cocteau, as well as rare ephemera, from Coco Chanel’s own handprint and handwritten notes to sketches by Karl Lagerfeld.

• A luxe, fully illustrated volume, complete with booklets and tipped-in foldouts focusing on different parts of the house of Chanel, from its embroidery and embellishment ateliers to its jewellery, beauty, and perfume creations.

CATHERINE ÖRMEN studied at the Ecole du Louvre, Ecole du Patrimoine and Studio Bercot, and is an expert on the history of fashion. She works as a curator, teacher, and author, and has written several acclaimed fashion monographs including All About Yves

9781529438239

Hardcover

128 Pages

200 color images

OCTOBER 2024

$65.00 / £50.00

Approx. 11.8 inches x 9.8 inches / 300 mm x 250 mm

ART & LIFESTYLE

5 ART & LIFESTYLE 28 stIll on the sCene: the sophIstICatIon of the 1930s GABRIELLE CHANEL WAS A MAJOR PLAYER IN THE CHANGES THAT TOOK PLACE IN FASHION FROM THE LATE 1920s ONWARDS. OVER THE FOLLOWING DECADE, SHE DEFINED A PARED-DOWN, EXTREMELY SOPHISTICATED STYLE THAT’S STILL RELEVANT TODAY. A FEMME-FLEUR Throughout the 1930s, Gabrielle Chanel remained true to herself when it came to daywear designs: strict tweed or jersey suits, sportswear and dresses often cut from silk crepe featuring patterns with small motifs like those used for men’s ties, which were very fashionable after the Wall Street Crash of 1929. Hers was a simplicity that was always tailor-made, befitting an era when elegance was intended to be discreet. Her evening gowns, by contrast, expressed an obvious desire for sophistication. For garden parties in private residences where people ‘from the same world’ competed to outshine each other, Chanel favoured floral prints on chiffon. Wild flowers, stylized or not, formed shimmering fabrics that were often decorated with flowers or petals ‘in relief’, cut from the same fabric. With meticulous attention to detail, the fabric was ‘stopped’ with a delicate picot stitch that kept it from fraying. Artificial flowers came from a long tradition and were produced by specialists — Maison Lemarié is one that survives to this day — and were placed around the neck, on the shoulder, at the bottom of a dress, on a belt or in the hair, often in pairs. And then there was the white camellia, which Chanel was especially fond of — an odourless flower that didn’t interfere with a woman’s perfume. This revival of femininity, expressed particularly through flowers, was a feature of the 1930s, as if fashion wanted to make people forget that it had been geometric and flat a decade earlier. Vaporous, delicate, diaphanous gowns in chiffon, organza or lace, accompanied by long gloves, boleros and stoles, of incredible lightness and consummate technical perfection. But of course, there was no question of women moving in the way they had before: movement was now studied, poised and sometimes a little affected. TECHNICAL PROWESS Figure-hugging, cut on the bias or entirely covered with sequins, the evening gowns of the 1930s were both highly spectacular and remarkable for their lines. At CHANEL, there was no superfluous ornamentation and, when it was present, it wasn’t allowed to detract from the line. While most designers were wallowing in nostalgia and bringing back the leg-of mutton sleeves and crinolines of yesteryear, Mademoiselle Chanel remained astonishingly modern. This can be seen in a dress from the Winter 1929/1930 collection, in an intense blue with sparkling sequins. AN ABOUT-TURN? From 1927, the highest-profile couture houses began to design evening dresses that were longer and more form-fitting. The cut quickly became very complex, thanks to the use of bias cutting, which enabled clothes to follow the curves of the body, fabrics to be draped and, at CHANEL, the backs of dresses to be cut lower. In the early 1930s, diaphanous, flowing fabrics, such as lace, chiffon and silk crepe, created a silhouette inspired by the shapes of classical antiquity. Chanel would excel in this craftsmanship and, like the other couture houses, would produce creations for an elite that had become inward-looking, with garden party dresses in floral prints, evening gowns moulded to the body like a second skin... She would indulge in diaphanous styles and, faced with her rival Elsa Schiaparelli’s growing influence, she no longer rejected ornamentation. In the late 1930s, Chanel would even score a triumph in the United States with her colourful, twirling gypsy dresses, layered with ruffles. Grace, delicacy, sophistication After her sporty menswear-inspired designs of the 1920s, this return to feminity may seem surprising, even paradoxical. But once again, Chanel embodied it. In 1937, she posed for François Kollar to advertise the N°5 perfume, wearing one of her own sumptuous creations — a long black chiffon dress, with long, puffy sleeves. She was 54 years old, and the first fashion designer to dare promote her own perfume. Chanel would explain that she was not an artist, that couture was not an art. While an artist only has herself to answer to, a designer has a business to run — in this case, with nearly 4,000 employees! Because there was demand for it, she decided to contributed to this ‘return to order’, which in the 1930s meant a return to the traditional values of this noble profession and a more traditional aesthetic. But isn’t that what fashion is about — loving one day what you hated the day before? Its remarkable, meticulous simplicity and stunning all-over embroidery make this dress timeless. Astonishing modernity appeared once again in the Winter 1934/1935 collection, when Chanel dreamt up a sleek, shiny jacket for evening wear — a forerunner to Karl Lagerfeld’s legendary little black jacket — worn over a finely worked Moroccan crepe dress with pintuck pleats. A radical design, requiring painstaking work. AN OUTSTANDING LEGACY The ateliers have retained the meticulous craftsmanship inherited from the interwar years, and the quest for innovation and technical perfection is as relevant today as it ever was. Whether in the CHANEL workrooms, or the métiers d’art (specialist workshops), it is these exact techniques, this meticulous approach that define haute couture and make it impossible to imitate. You can copy or be inspired by a trend, but you can’t reproduce an ideal. Gabrielle Chanel wearing one of her creations, 1936 (photograph by Cecil Beaton). f Autumn/Winter 1990/1991 Haute Couture collection. BackgRound Autumn/Winter 1989/1990 Haute Couture collection. Haute Couture model, 1938 (photograph by Boris Lipnitzki). STYLE 37 THE APTLY NAMED ‘LA PAUSA’ Nicknamed his ‘favourite cabin boy’ by the Duke of Westminster, Gabrielle was said to have had good sea legs. However, it wasn’t long before she chose to drop anchor in Roquebrune. In 1928, she had a villa built in record time by a young architect called Robert Streitz. Overlooking Cap Martin and sited on several hectares of land, surrounded by ancient olive trees, La Pausa (‘The Pause’) was completed in 1930. The architecture, with its patio, arcades and voluminous spaces, was inspired by Aubazine Abbey. In the centre of the house, A WAY OF LIFE When she first set up her business, Gabrielle Chanel had obtained special authorization (in December 1913) to sell her merchandise in Monaco. This was her first outlet. Her branch in Cannes then opened in 1923. After World War I, she made frequent trips to Monaco and Venice — restorative breaks, far from the hustle and bustle of Paris. Her look on those occasions was relaxed, casual, but even in flat shoes she was flawlessly elegant. And at a time when it was considered reprehensible for women to wear trousers, she dared to break the rules. She not only wore silk pyjamas and slacks — wide-legged, darted trousers — but was also photographed in drop-front trousers or pants turned up over thick socks. These informal outfits, inspired by the sailors’ uniforms on the Flying Cloud and Cutty Sark were often completed with a striped jacket and a jaunty cap. Because, thanks to the Duke of Westminster, Chanel had discovered an entirely new lifestyle: yachting. Gabrielle Chanel and Roussy Sert, 1935. Gabrielle Chanel at her home La Pausa, with Gigot, 1930. Gabrielle Chanel at La Pausa, 1938 (photograph by Roger Schall). yaChtIng, the Côte D’a zur anD the CruIse ColleCtIons IN THE TWENTIES, WEALTHY CLIENTS DISCOVERED THE CHARMS OF THE RIVIERA AND WOULD HEAD THERE ON LE TRAIN BLEU PREFERABLY OUT OF SEASON, TO ENJOY ITS TRANQUILLITY AND SUNSHINE. IT WAS DURING THIS PERIOD, AND FOR THESE VERY CLIENTS, SOAKING UP THE WINTER SUN, THAT THE CRUISE COLLECTION WAS INVENTED — FOR WOMEN WHO WENT SAILING IN THE BAHAMAS IN WINTER, AND THOSE PRIVILEGED INDIVIDUALS WHO HOLIDAYED ON THE CÔTE D’AZUR, OR WHO HEADED EVEN FURTHER AFIELD ON THE LEGENDARY ORIENT EXPRESS HAVING STYLE One of the most astonishing photos of Mademoiselle Chanel shows her lying in full sun, on the roof of a boat. Dressed in a polo shirt and light-coloured, wide-legged trousers, she wears Mary Janes on her feet, with a ring and bracelets as her only jewellery. Relaxed, smiling, her hair blowing in the wind, she is ahead of her time and the very embodiment of elegance. And, as summer drew near, this simple style of hers would soon find itself on the pages of magazines. A ‘sailor style’ that would be particularly suited to the Cruise collections.

Spreads not final

STYLE

The Trench Coat

The Leather Jacket

The A-line Dress

6 ART & LIFESTYLE

Fashion moves in cycles of revolution and consolidation, but its primary remit is constant change – that is what drives consumption in what is, after all, an industry. If fashion never changed, perhaps we would only need new clothes when our old ones wore out. But actually there is an element of fashion which, in fact, doesn’t change. It’s the bedrock on which everything else is built, the fundamental elements through which experimentation occurs. Sometimes they’re referred to as ‘classics’ or as ‘wardrobe staples’ – these are the garments that, should someone from the late nineteenth century jump forward through time to more recent years, would, some details aside, likely still be recognisable to them. Likewise, they would be recognisable to us if we were to jump back. This isn’t to say their meanings would necessarily be the same: the joke in Back to the Future Part II, when Marty McFly is desperate to fit into the 1950s and so puts on a black leather biker jacket, is that it was totemic then of the trouble-maker, even if today it’s totemic of a rather more ersatz rebellion. That these classics have survived largely unchanged for as long as they have – often a century or more, and most are at least many decades old – is remarkable in a business that so thrives on newness. They speak perhaps to an era when clothes were more highly valued; when people had fewer clothes and so INTRODUCTION 6 When the trench coat became an optional item of clothing in the British army during the First World War only officers were allowed to wear it. Such class associations have long been lost and the coat, and its variations, is an everyman alternative to the classic macintosh, even if distinctive details of its military heritage remain: the epaulettes that secured rank insignia or anything on a strap; the D-ring, at the front and rear, on to which ammunition pouches and other supplies were hooked; and the storm flap at the shoulder, now an extra means of funnelling rain away from the body, and originally devised to provide cushioning against the kick of a rifle butt. Other details add up to make the trench one of the most weatherproof coats ever devised: the throat latch, wrist straps and the rain shield, which works like the storm flap but across the back. The trench coat may have come to be the uniform of Chandler-esque private eyes of the 1940s – think Robert Mitchum in Out of the Past (1947) or Foreign Intrigue (1956) – and is famously associated with Humphrey Bogart’s Rick Blaine in Casablanca (1942). But by then the trench coat’s very mannishness was being toyed with: women had worn the style before, notably during the early 1920s, as much as a statement of emancipation as of fashion. Again, it was stars of the screen portraying the strong woman archetype who wore the trench: Greto Garbo on the set of A Woman of Affairs (1928), Gloria Swanson in Queen Kelly (1929) and Bette Davis in Of Human Bondage (1934). The trench coat continued to be used to signal a sassy mannishness – Katharine Hepburn wore an outsized trench coat in The Iron Petticoat (1956), for example – right up until Audrey Hepburn’s feminization of the garment. The image of Hepburn’s Holly Golightly in Breakfast at Tiffany’s (1961), wearing what until then had been perceived as predominantly male garment, also created a stir. Sales of the coat to women rocketed, establishing it as a fashion classic, soon after given added kudos when Jacqueline Kennedy

Introduction

Above: The actor Robert Mitchum wearing an Aquascutum trench coat. A trench coat by Burberry, one of the company’s that pioneered the design. OUTERWEAR 12 There was a very good reason why Joe DiMaggio, Marilyn Monroe’s husband at the time, was said to have hated the cocktail dress she wore in Billy Wilder’s 1955 movie The Seven Year Itch for the famed scene when she stands on subway grate and her dress billows up. It was daringly revealing, to DiMaggio’s chagrin: a halterneck style, it not only enhanced the curvature of Monroe’s breasts, but also left her shoulders and back bare. Designed by Oscar-winning costumier William Travilla, that dress became – thanks to the scene – an icon in its own right, later owned by actress Debbie Reynolds, and eventually sold at auction in 2011 for £2.8 million. The halterneck was created to tantalize, despite the term being derived from the halter placed around an animal’s neck to effect better control of it. Dating from between 1914 and 1919, the neckline is credited to French designer Madeleine Vionnet –pioneer, too, of the bias-cut, handkerchief dress and draped, Grecian-style dress. It is also said that she intentionally realized it in sensuous, streamlined, form-following fabrics such as crêpe de Chine and satin. Vionnet was arguably responsible for abandoning the constraints and silhouette imposed on women through the use of corsets; her halterneck exposed the back but also varying degrees of cleavage. Her dresses expressed the natural female form. ‘It was a pity to go against nature,’ noted Vionnet, who went on to design a double halterneck, with the front of the dress or swimsuit supported by two sets of straps fastened at the back of the neck. During the boom years of the 1920s, the halterneck dress became the sophisticated eveningwear of choice – and a risqué one, linking the style to notions of hedonism. While the neckline would later appear on swimsuits and casual tops, the halterneck was, perhaps, the first ‘come-hither’ dress in an age in which any public sexual impropriety was social suicide. At first, only the superstars of the period – the likes of actress Clara Bow, who wore one for official studio portraits – could pull it off.

Elizabeth Taylor in studio portrait. Opposite: always had connotations of sultriness, as embodied here in 1955 by Jane Russell the actress whose ‘shockingly emphasized’ her breasts, according to a disgruntled Hollywood DRESSES 108 looked after them; when, really, fashion was more just for the frivolous and the well-off; when fashion was slow and not fast. Yet the longer they have survived, the longer they have provided the blueprint for their category of clothing – for what a man’s shirt, or a woman’s shift dress, or whatever, should look like; the more they have become the foundational archetypes that fashion endlessly imitates, but also plays with, builds on and subverts. Underneath this playfulness and subversion, they are nonetheless still there – if they weren’t, arguably the playfulness and subversion would fail. Indeed, the longevity of their appeal isn’t just because they offer value in their ability to somehow be above fashion, which makes them sound terribly safe. Their appeal is also in constantly taking clothing back to reassuring first principals of proportion, fit, silhouette and the human body. This is the clothing canon. It’s not fixed and immutable – it is always growing, albeit that each new entry must prove itself over time to be accredited, and no doubt some of the old ones will eventually fall aside. Ruffs were in fashion for a century too. In the meantime, we keep going back to them, if for no other reason than this: they still look really good. INTRODUCTION 9 Previous page: The sweatshirt, make Steve McQueen in The Great Escape(1963) one of the all-time great Opposite: Jacqueline Kennedy Onassis, twentieth-century style Acropolis in Athens in 1961. The leather jacket is the most masculine of garments. Notwithstanding the leather itself – typically tough, shiny and shell-like – the connotations are those of historically male enclaves, from biker gangs to the military, to gay subcultures. So perhaps it would require a subculture as combative as punk to bring the leather jacket into the woman’s wardrobe. For punk, the garment’s hints of the fetishistic – notably biker jackets with their zips, belts and stiff leather – only added to its rebellion against societal norms, be that commercialism, conservatism or gender-specific dress. The heavily customized black leather jacket was as much an anti-establishment symbol for Jordan, the famously haughty manager of punk pioneers Vivienne Westwood and Malcolm McLaren’s London shop Sex, or for Siouxsie Sioux, as it was for the Sex Pistol’s Sid Vicious. Another subculture – grunge – would underscore the biker jacket’s unisexuality in the 1990s: the poster for Singles (1992), one of the period movies about grungy twenty-somethings, featured Bridget Fonda and Matt Dillon, both in biker jackets. This was all despite the fact that the classic biker jacket, the Perfecto, was made famous by one of the most male characters in movie history: Marlon Brando’s Johnny, nihilistic leader of biker gang in The Wild One (1953). The Perfecto, designed and made by Irving Schott of Schott Bros, initially for a Long Island Harley Davidson dealership, was the first jacket to be fastened by a zip. With its epaulettes, studs, collar snaps and horsehide, not to mention its popularity among hardcore bikers, from rockers to greasers, it screamed macho, if not trouble. A similar story might be told of the other key pieces of leather jacket design, the templates for so many copies, from the sheepskin-collared, dark brown Irvin jacket issued to bomber crews of the RAF during the Second World War to the russet A2 pilot’s jacket created for the US Army Air Corp. The latter was designed in 1930 and remained standard issue to American military pilots until 1943, but then, flouting regulations, was retained by many

The Halterneck Dress

the black leather jacket worked women every bit as much as did for men, as here, on Chrissie Hynde in 1979. Opposite: The Boss, Bruce Springsteen, perfecting his image as blue-collar OUTERWEAR 24 Hemlines may rise and fall and certain styles have their moment, but few silhouettes can have been so influential in the late twentieth century as what came to be known as the A-line. The shape, triangular from the shoulders or hips, has historical precedent: sixteenth-century Elizabethan fashion insisted on the flattening of the bust and a full skirt, producing a proto-A-line shape; the hoops of underskirts in the seventeenth century created similar lines; and women’s fashion during the Edwardian era, with its emphasis on such new physical pursuits as bicycle riding, teamed a blouse with an ankle-length flared skirt to also achieve an A-line effect. Even in the mid-twentieth century, designer Jacques Fath’s swing coat of the late 1940s hinted at the A-line. But it was Christian Dior, who christened the style ‘A-line’ in his spring collection of 1955. Dior’s was an exaggerated version: the key look was an unfussy, flared jacket over an even more flared pleated skirt, a true capital A, in keeping with the letter shapes that inspired his collections (he also produced styles based on H and Y). In fact, the A-line was devised in part to mark a distinct break with the nipped-in waist of his ‘Corolle’ line, introduced as part of the New Look in 1947, and influential for many years after. The A-line was, as Vogue quipped, ‘the prettiest triangle since Pythagoras’, and, although not immediately successful, it did inspire copies and sewing patterns. It was in 1958, with Yves Saint Laurent’s first collection at Christian Dior, that the A-line established itself as a truly modern shape with wide appeal, not least because it was distinctly flattering, narrowing the waist and hiding hips and thighs. Saint Laurent’s ‘Trapeze’ collection offered knee-length coats and dresses that flared from the body more softly and less dramatically than Dior’s designs, although more extreme takes were soon created by other designers. In spite of its long history, the A-line, with its emphasis on comfort without sacrificing structure, came to be viewed as a futuristic shape, especially

during the space age of the 1960s. The playfulness of the A-line, Mary Quant-inspired minidress seemed especially suited to the boom in youth fashion over the decade. It was a graphic, wearable shape to which bold colours, patch pockets and various necklines could be applied. The A-line of the 1960s explored new fashion materials such as paper, PVC and other plastics; the fact that they could retain a stiffness made them ideal for the A-line, as French designers Pierre Cardin, Emanuel Ungaro and André Courrèges each investigated, the latter’s 1964 ‘Moon Girl’ collection including A-line minidresses in silver plastic inspired by astronaut suits. But the A-line remained a fashion staple precisely because it worked regardless of length: come the 1970s, the A-line was appearing in longer styles, worn in denim with knee-high boots. DRESSES 92 Above: Dior was not the only designer to propose ‘triangular’ design by Lanvin-Costillo in 1962. Opposite (above): Stripped down geometric shape, the A-line also found relevance citing the ‘pop’ years of the 1960s and 1970s, as with these dresses by Hanae Mori and Charles Cooper. Opposite (below): Courrèges’s spring/summer collection of 1968, in which the DRESSES 93 Spreads not final

Icons of Style: in 100 Garments

Josh Sims (Author)

The most stylish items of clothing to wear, from classic brogues to Breton tops, from a denim jacket to the classic white shirt, with their history and the most stunning photography to inspire the reader.

• The most iconic garments of the stylish, from the original T-shirt to the trench coat, from the leather jacket to the little black dress with their provenance and history and how the item shaped the way we all dress today.

• This is a fabulously illustrated edition with photographs of the stylish, from Paul Newman to Kate Moss, Grace Kelly to Mick Jagger.

• A reinvention and update of two hugely successful books, Icons of Men’s Style, and Icons of Women’s Style.

• Written by veteran style writer, Josh Sims.

JOSH SIMS is a freelance style writer, contributing to the likes of The Financial Times, The Independent, The Independent on Sunday, Mail on Sunday, Channel 4, the BBC, Esquire, GQ, Wallpaper* and i-D. He is also author of Rock/ Fashion (Omnibus), A Dictionary of Fashion Designers (Collins), Mary, Queen of Shops (BBC Books) and contributor to several fashion books from Taschen. He has extensive contacts within the style and mainstream press.

9781399623766

Paperback

368 pages

350 images

OCTOBER 2024

$35.00 / £30.00

Approx. 10.1 inches x 7.5 inches / 257 mm x 190 mm

7 ART & LIFESTYLE

The Short Story of Contemporary Art:

A Pocket Guide to Key Movements, Works, Themes & Techniques

Susie Hodge (Author)

A new, innovative introduction to the story of contemporary art, from the 1970s to today. Part of the bestselling The Short Story of series.

• The latest title in the international bestselling accessible art history series, The Short Story of series.

• The book examines 40 key artworks from the contemporary period.

• Explores the key artists and their works and details the most important themes and movements.

• Explains the most important and influential concepts in an accessible and concise way with clear information design and four-color imagery throughout.

• A book for students, enthusiasts, and gallerygoers to understand the complete story of contemporary art.

SUSIE HODGE is an art historian, historian, and artist. She is the bestselling author of numerous books, among them 50 Art Ideas, How to Survive Modern Art, Why Your Five Year Old Could Not Have Done That: Modern Art Explained and several titles in the international bestselling accessible art history series, The Short Story of

9781399618731

Flexiback

224 pages

115 images

FEBRUARY 2025

$19.99 / £16.99

Approx. 8.3 inches x 5.8 inches / 210 mm x 148 mm

8 ART & LIFESTYLE THE WORKS 147 SURv vAL p.165 CHANGE p.173 CONTRADICTIONS p.176 PRECONCEPTIONS p.181 SPACE p.187 LIGHTS p.205 MIRRORS p.212 INSTALLATION p.216 YAYOI KUSAMA Ideas about perpetuity in space and vision have fascinated Kusama throughout her career. Born in Matsumoto, Japan, she has suffered with anxiety and hallucinations from childhood. She studied Nihonga painting at the Kyoto City Senior High School of Art, then later moved to the USA, where she produced performances and soft sculptures. In 1965, she began creating her series of Mirror/Infinity Rooms creating immersive experiences for viewers. Since the mid-1960s, Yayoi Kusama (b.1929) has emphasized the importance of the role that the viewer plays in her works with her Infinity Mirror Room series. In her 2011 installation Infinity Mirrored Room – Filled with the Brilliance of Life visitors walk along a path of mirrored tiles. The walls and ceiling of the room are also mirrored, and the floor around the path is filled with shallow water. Hanging from the ceiling over a hundred small, coloured LED lights that flash on and off in different timed patterns. Each of Kusama’s Infinity Mirror Rooms comprise a dark area lined with mirrors on almost every surface. Tiny lights reflect on and off, repeating their lights in the space, creating illusions of endless space. These installations encourage visitors to contemplate their existence, emphasizing the interconnectedness we have to each other and the universe. This particular work represents harmony for both inner and outer peace, and is intended to convey what Kusama sees as the ‘brilliance’ of life. Dots have been used by numerous artists in countless ways, but Kusama’s use of them explores ways they can form three-dimensional, immersive environments. She created this installation specifically for her retrospective exhibition held from 2011 to 2012 at Reina Sofia, Madrid; Centre Pompidou, Paris; Tate Modern, London and the Whitney Museum of American Art, New York. OTHER KEY WORKS Mirror Room (Pumpkin) 1993, venice Biennale, Italy Obliteration Room 2002–present, first staged at the Queensland Art Gallery, South Brisbane, Australia The Spirits of the Pumpkins Descended into the Heavens 2017, National Gallery of Australia, Canberra, Australia

146 THE WORKS CONCEPTUAL ART p.21 FEMINIST ART p.23 INSTALLATION ART p.32 Infinity Mirrored Room –Filled with the Brilliance of Life YAYOI KUSAMA: MIRRORED GLASS, PLEXIGLAS, LED LIGHTS, WOOD, ALUMINIUM, PLASTIC, CERAMIC • UNCONFIRMED: 295.5 X 622.4 X 622.4 CM (116 X 24½ X 24½ IN) TATE MODERN, LONDON, UK –2017 Spread not final

Supermodels: Discovered

Caroline Leaper (Author)

The origin stories of the greatest supermodels of all time, featuring exclusive interviews with icons including Pat Cleveland, Claudia Schiffer, Stephanie Seymour and Halima Aden.

• Supermodels never go out of fashion and the original supermodels continue to fascinate.

• The discovery stories are a perfect vehicle for telling the inspiring but little-known rags-toriches or coming-of-age tales of the models.

• A beautiful celebration of talent from diverse origins around the world, from Lisa FonssagrivesPenn to Adut Akech.

CAROLINE LEAPER is senior fashion editor at The Telegraph and a regular at all the major fashion week shows in Paris, London, Milan, and New York. During her career, she has also written for Vogue, Elle, Marie Claire, InStyle, Glamour and Stylist and interviewed numerous fashion stars, including Naomi Campbell, Claudia Schiffer, Ashley Graham, and Halima Aden.

9781529433234

Hardcover

216 pages

70 images

JANUARY 2025

$30.00 / £25.00 Approx. 8.3 inches x 5.9 inches / 210 mm x 150 mm

9 ART & LIFESTYLE

When Inès had initially approached Chanel and Dior, neither of the quintessential French houses had been interested. It was Kenzō Takada, the Japanese designer working in Paris, who was the first to hire her for his catwalk show in 1976. Following Kenzō’s approval, Inès began booking more shows — Sonia Rykiel, Dior, Lanvin, Jean Paul Gaultier and, occasionally, Chanel. She became known as the ‘talking mannequin’, for the way that she so freely sashayed down the runway chatting to the photographers who in those days lined the front row rather than standing at the end of the platform. It was after she walked in Karl Lagerfeld’s fall 1983 Chloé show that she began spending time with the designer. When Lagerfeld was appointed at Chanel, he was charged with revitalising the house — Gabrielle Chanel herself had died almost a decade earlier. 25-year-old Inès became his muse, and the first model to sign a contract covering advertising and appearances, as well as catwalk shows. Her likeness to the founder was played upon endlessly — she posed in the late designer’s office and starred as Coco in the 1984 Coco perfume campaign, lensed by Paolo Roversi. ‘I would not do it without Inès de La Fressange,’ Lagerfeld told American Vogue in 1986. ‘I ask her everything. She tells me what she wants to wear, and design it.’ Inès’s influence on French fashion in the 1980s was now understood around the world. The French Government recognized this and invited her to be the latest celebrity to represent Marianne, the symbol of the French Republic (Catherine Deneuve and Brigitte Bardot had previously held the honour). Accepting the job, however, caused Inès and Lagerfeld to famously fall out — her contract with Chanel was ended in 1989. Eventually, the pair became friends again. But even when Inès’s career as a Chanel supermodel was over, she was able to sell her vision of French style, globally. She went on to work as a designer and author — her Parisian style guidebooks have sold over a million copies to date. Abessimis sed consi te, quam que conenata, C. Ero viviviv eristrenit INÈS DE LA FRESSANGE 67 IT’S THE ONLY CAREER IN THE WORLD THAT YOU CAN’T CHOOSE FOR YOURSELF — YOU HAVE TO BE CHOSEN. I we define a ‘supermodel’ as the most in-demand, highly paid face of their era, then Lisa Fonssagrives was likely the first. Fashion photography was in its infancy when Lisa began her career in the mid1930s — before then, magazines had relied on illustrations to depict the clothes designers were offering for the season. Lisa Birgitta Bernstone was born in the relaxed Swedish town of Uddevalla. Her father was a dentist and her mother a nurse, but art was integral to family life. She practised painting, sculpture and dance, before leaving to study ballet at Berlin’s Mary Wigman Schule when she was 20. In 1933 she competed in Paris, fell in love with the city and decided to stay. She also met her first husband, French dancer Fernand Fonssagrives, and the couple started offering private dance classes to people in their own homes. When Fernand was injured, though, he picked up a Rolleiflex camera. Lisa naturally became his primary photography subject. The pictures Fernand took of Lisa during the early days of their marriage were fearless and experimental for their time — she trusted his lens. Leaping across a St Tropez beach in her swimsuit, practising her elegant ‘grand jeté’, it was clear that, even with no modelling experience, Lisa knew how to move and sculpt her dancer’s body for the camera. In 1936, Lisa had what she would later recognize as her ‘discovery’ moment. She met the German photographer Willy Maywald in an elevator, and he asked if she might model some hats for him. Maywald worked as a house photographer shooting what we might now call lookbooks for Christian Dior and Jacques Fath. Lisa obliged. Maywald’s pictures were submitted to Paris Vogue and Horst P. Horst, who had recently joined as staff photographer, asked her to do some test shots. The day before her first official Vogue sitting a few months later, Lisa was briefed that she would model gowns by Alix and Lucien Lelong. She went straight to the Louvre to do her homework, studying how people posed in evening clothes in paintings and sculptures. LISA FONSSAGRIVES 17 May 1911 – 4 February 1992 SUPERMODELS: DISCOVERED LISA FONSSAGRIVES 5 Spreads not final Draft cover

The Women Who Changed Photography:

And How To Master Their Techniques

Gemma Padley (Author)

Discover 50 groundbreaking female photographers and how to incorporate their styles and techniques into your own photography.

• The first book on the market that pairs biographical information with expert advice on how to master their techniques.

• This book appeals to those interested in a feminist history of photography and those looking for inspiration and practical advice.

• Taps into the trend for highlighting and celebrating women in this field.

GEMMA PADLEY is a writer and editor on photography. Her writing has been published by The Telegraph, Foam, Photomonitor, LensCulture, AnOther, Elephant, British Journal of Photography and 1000 Words magazine.

9781399617277

Paperback

216 pages

100 images

AUGUST / SEPTEMBER 2024

$24.99 / £20.00

Approx. 9.0 inches x 7.4 inches / 230 mm x 190 mm

10 ART & LIFESTYLE

11 ART & LIFESTYLE

Interior Design is Not Decoration: And Other Ideas

Stephanie Travis and Catherine Anderson (Authors)

Interior design is an important practice that affects all our lives.

• An attractive, giftable format which is makes the perfect coffee table book!

• This book includes engaging, bite-sized entries which make it a book great for dipping into.

• Written by respected academic practitioners.

• Includes 100 illustrations.

STEPHANIE TRAVIS and CATHERINE ANDERSON both teach Interior Architecture and Design at the Columbian College of Arts and Sciences, The George Washington University, Washington, DC. Stephanie is the author of Sketching for Architecture + Interior Design (Laurence King, 2015) and, with Catherine, the co-author of 25 Concepts in Modern Architecture (2021).

9781529431551

Flexiback

232 pages

100 images

AUGUST 2024

$35.00 / £25.00

Approx. 7.9 inches x 5.7 inches / 200 mm x 144 mm

12 STUDENT & PROFESSIONAL For professionals and aficionados who want to keep up on interior trends, a subscription to a design periodical allows for a monthly or bimonthly flood of inspiration straight to your mailbox—online or otherwise. Each issue will incorporate a wealth of information such as new product lines, design ideas, and methods of implementation; photographs of recent work; and interviews with designers and clients. Top United States-based magazines include the gold standard for commercial interiors, Interior Design Magazine and the residential leaders Elle Decor AD Architectural Digest), and Dwell. Britain publishes Elle Decoration and The World of Interiors while Australia produces Vogue Living Australia and Artichoke (the latter featuring commercial and hospitality projects). Design Anthology is edited in Australia and Asia, while Kinfolk, a slow-living magazine, started in Oregon and now has offices globally. And Frame from Amsterdam, is an edgy pick. These varied visual glossies offer a curated overview of the latest projects from around the globe. Newspapers, too, cover the topic of interior design, with sections often nestled into larger arts and entertainment sections. These include Home & Design in The Wall Street Journal Architecture & Design in the Los Angeles Times Home & Garden in The Washington Post and in the UK, The Times Bricks and Mortar section. These sections explore prominent design ideas and show cutting-edge work, and their presence in credible journalistic news sources emphasizes the importance and interest of the discipline. A separate publication in The New York Times T: The New York Times Style Magazine even has its very own Design & Interior section. This just scratches the surface, as there are a plethora of periodical and newspaper options for interested readers of all things related to interior design. What do all these media sources have in common? They highlight originality and provide their readers with ideas—sometimes realistic, other times aspirational—but always inspiring. See also Books, page 10 Interior Design is Periodicals + Newspapers Periodical Interior Design Magazine Issue Best of Year Date January 2021 1.2 Media + Culture 12 As celebrity chefs and self-described “foodies” show no signs of fading away, restaurants continue to be a wonderful place to break bread with friends and family. Add to the experience of delicious food an interior to match, and a successful restaurant is made. When designing spaces for eating, the type of cuisine is often the impetus for the concept; however, it is important to note that while the food can be the point of inspiration, it is not a theme. Designers do not have to create a miniature Rome to serve Italian food. Once a space is selected, the interior designer interviews the client to begin the programming phase, which is based on the needs of all the users—diners, management, and staff. Adjacency diagrams are a tool that is used to indicate what spaces need to be next to, near, or far from one other. Then the floor plan evolves by balancing the needs of the restaurateur, such as table types and sizes, bar and bar seating, hostess and service areas, private dining rooms, commercial kitchen access and needs, and number and type of restrooms. Designers also think about details such as how to create a lighting experience that makes diners look good (hint: this is often achieved by a strong dimming system). Since diners are generally there to talk as well as eat, designers must pay specific attention to acoustics. Too many hard surfaces will cause sound to bounce, creating a frustrating experience for any conversationalist. Other critical factors, such as durability of finishes and ease of maintenance, must be factored in when designing, since many restaurants have a quick turnover rate with constant use. It’s a lengthy design process, even for the simplest eating establishment. Coffee shops have also become “third places,” where people come to drink coffee, meet friends, and do work. When food and interiors connect, it’s magic. Bon Appetit! See also Comfort, page 180 Interior Design is Restaurants Designer Space Copenhagen Project 108 Location Copenhagen, Denmark 5.3 Project Types 102

Furniture Design

Second Edition:

An Introduction to Development, Materials and Manufacturing

Stuart Lawson (Author)

A comprehensive guide and resource for student and professional furniture designers.

• This book surveys the cultural history of furniture design, exploring notions of good design, innovations in production and the principles of a circular economy.

• Includes an illustrated directory of materials and techniques and features the work of pioneering international designers.

STUART LAWSON is Associate Professor in the School of Art, Design & Architecture at De Montfort University, Leicester, UK.

9781529432060

Paperback

224 pages

370 images AUGUST 2024

$50.00 / £40.00

Approx.

13 STUDENT & PROFESSIONAL Within the realm of the designed object, the early twentieth century is characterized by the tension between mass industrialization and craft manufacture. By the end of the nineteenth century, architects, designers, craftspeople and artists had come together through societies, exhibitions and publications to imagine a new vision of the future in which new materials, new forms and new manufacturing processes would play a defining role. This chapter surveys the key milestones in this development, showing first how designers sought to bring together the old and the new, and then how newer materials and newer ways of manufacturing led to a break with past forms and a re-imagining of the way we live. Following developments decade by decade, this section chooses significant works as exemplars of good design and innovation, linking with related contemporary activities and historical events. This selective approach means that these examples can be Significant first steps toward progressive design were taken in 1897 by the Vienna Secessionist architects Koloman Moser and Josef Hoffmann. The Secessionists were influenced by the latter stages of the Arts and Crafts Movement in the UK, and, in particular, by the work of Charles Rennie Mackintosh, whose highly original architecture, furniture and metalwork provided a bridge between the deconstructed vernacular of the 1890s and the imaginings of the Secessionists. encourage sharing of ideas between the city’s most forward-thinking artists, craftspeople and architects, Moser and Hoffmann formed the Wiener Werkstätte (Vienna Workshops) in 1903. Following in the footsteps of William Morris and John Ruskin, proponents of the reform movement in the UK, the Werkstätte sought to pitch itself against world that was increasingly populated by poorly designed industrialized products, through the craft manufacture of highly original art, textiles, metalwork, glass, ceramics, furniture and architecture. The Werkstätte was, therefore, a resolutely craft-focused enterprise and not an example of integrated design for efficient mass manufacture, although Hoffmann and Moser did design furniture for Thonet. The Werkstätte’s motto was: ‘Better to work 10 days on one product than to manufacture 10 products in one day.’ Thonet was the first company to mass-manufacture furniture, and it has produced well-designed utilitarian products since the 1850s. Founded by Michael Thonet, a cabinetmaker and entrepreneur from Germany, the firm’s innovative approach to wooden furniture production (i.e. the division of labour to create affordable, refined products for the masses) and the fact that it worked with the very best designers meant that the Werkstätte voiced no objection. However, despite Thonet’s considerable influence and achievements, the Werkstätte’s output (particularly in the first five years) represents the beginning of truly progressive design due to its style and substance of twentieth-century design. In the USA, Charles Rennie Mackintosh had great influence on the architect Frank Lloyd Wright, and he in turn undoubtedly inspired the Werkstätte. Of all Wright’s work, his most uncompromising is the entirely metal furniture designed for the Larkin Building (1904) in Buffalo, New York. The metal seats and, even though there are no accounts of its reception, it must have seemed unforgiving in its use of materials and form. Despite Lloyd Wright’s innovative interior design of glass doors, 1a: A cultural history of furniture design 1910 Eero Saarinen born/Early Fokker aeroplane uses tubular steel Les Demoiselles d’Avignon 1909 Mackintosh’s Glasgow School of Art 1906 Richard Strauss’s opera, 1908 Titanic design approved 1901 Koloman Moser’s Bentwood Chair 1900 Paris Exposition Universelle 1900s: Hoffmann to Lloyd Wright 91 90 The Escritoire ‘trestle’ by Ett La Benn. dominance of email and social media, the form and function of furniture escritoires are worthy of reappraisal. because nearly all of this new and long-standing activity is viable using mobile technology, the traditional home office is becoming less common, or increasingly decentralized. Herman Miller’s study found that its subjects worked in an average of 2.4 different locations around the home. Of its 250 respondents, 87 per cent worked in dedicated home offices, 65 per cent worked in the living or family room and 48 per cent worked in bedroom. Also, 43 per cent of women and 33 per cent of men worked from kitchen counter. is far from being in terminal decline, but it is true that the use of more informal, itinerant workspaces is in the ascendant – as is the inexorable shift to digital documentation. Such changes in the way we work and in our storage needs require both paradigmshifting and ‘enhanced innovation’ responses from designers. Perhaps the most pressing need is to adapt or re-specify the furniture used so that it provides good ergonomic posture for tasking while also being appropriate for its home-centred use. However, it has been established in several research studies that by working in different positions and postures throughout a day, damage to people’s physiology is limited, even the postures adopted Research studies In the 2000s, Herman Miller commissioned several research studies (www.hermanmiller.com/ en_gb/research) that looked at behavioural and technology-led trends that could affect requirements and buying patterns for furniture. One of the most significant of these was concerned with how ‘more and more people are getting to work without going to work’. Researchers studied a user group of 250 homeworkers, focusing specifically on how they worked and not on why they worked at home, which had already been established. The COVID pandemic certainly transformed working practices and despite significant return to office working since, the acceptability and practice of homeworking is here to stay. Such changes in work patterns and behaviour, coupled with constantly evolving technologies, mean that the way in which people are inclined to work and where in the home they do it are evolving. Designers concerned with responding to human need should regard such change as an opportunity for innovation. The climate crisis and the need for low-carbon economies will necessitate less travel and potentially carbon taxes for travel, parking, etc., which will only increase the trend of homeworking. CoreNet Global suggested that during the decade following 2010 ‘just 40 per cent of all work will be done in corporate facilities. The remaining work will be done at home (40 per cent) and outside the office or home (20 per cent).’ These predictions are still largely accurate, and the UK’s Office for National Statistics research from 2020 found that the ‘most common reason for using or planning to use homeworking as part of permanent business model (among businesses who reported this) was improved staff well-being (60 per cent), followed by reduced overheads (43 per cent) and increased productivity (41 per cent)’. Of course, ‘home admin’ accounts for meaningful part of a household’s ‘homeworking’ needs and The evolving workplace are far from perfect. As a consequence, designers could be expected to have some freedom from anthropometric and ergonomic constraints, but since there is no way to prescribe such rotation of positions, designers still must respond to the homeworking phenomenon by designing for longer sessions of use. Aesthetics also play an important role in integrating such furniture into the home’s most cherished and considered surroundings and, in parallel to the aims of truly inclusive design, this enhanced functionality should be unseen – certainly for the majority of users. The Vitsoe Zapf 606 Universal Shelving System’s desk, typewriters, has enjoyed renewed and broad use with laptops and (2008) variation on series of manufactured by Martin Holzapfel. Below: Herman Miller’s solo visual and acoustic privacy.

11 inches

8.5 inches / 280 mm x 216 mm

The Fashion Entrepreneur:

A Definitive Guide to Building Your Brand

Keanan Duffty (Author)

A five-part guide to operating a successful fashion business covering everything tomorrow’s fashion leaders need to know about managing, funding, marketing, branding, and selling.

• Written by a highly respected industry expert, designer and educator known internationally.

• The book includes interviews with leading creative entrepreneurs from designer Tommy Hilfiger to Mazdack Rassi, the founder of Milk Studios, and a diverse range of experts including ‘fashion lawyer extraordinaire’ Betsey Pearce.

• A comprehensive, carefully designed handbook, fully illustrated with photography and drawings.

KEANAN DUFFTY is an award-winning British fashion designer, musician, and educator. He is a member of the Council of Fashion Designers of America (CFDA). Duffty has done collaborations with brands including Reebok, Gola and Dr Martens and designed with artists such as The Sex Pistols, David Bowie, and Gwen Stefani.

9781529428667

Hardcover

192 pages

90 color images

SEPTEMBER / OCTOBER 2024

$40.00 / £30.00

Approx. 9.8 inches x 7.4 inches / 210 mm x 170 mm

14 STUDENT & PROFESSIONAL

The Fashion Entrepreneur Part 1 The Fashion System 44 45 distribution and, ultimately, storytelling, we can develop a new system in which the value of the product is communicated to the consumer not merely by its pricing, but by its intrinsic value throughout the entire fashion system. The consumer has been told the whole story. The luxury-goods sector does a better job of joining the dots. It has employed this methodology to create a unique selling point (USP) for its products and created a relationship of trust with the consumer, based on the quality of the materials, the longevity of the product and the customer experience. It can be described in terms of the pyramid concept: with luxury goods, the top of the pyramid is the product, the absolute apex, the jewel in the crown. In the middle is the marketing, storytelling and communication of that product and at the bottom of the pyramid is the process of producing the product. The luxury sector presents the pyramid to its consumer in its entirety. Each element is interconnected, both in the process and the storytelling. This provokes an emotional response in the consumer and a decision to buy – and the interconnectedness of the system has demonstrated its worth. Systems thinking in fashion Systems thinking is a mode of analysis that’s been around for decades, but it has newfound relevance for today’s ‘big data’ world in which everything is networked. Systems thinking is a way of seeing and understanding the interrelatedness of a system’s constituent parts and the consequences that flow from these interconnected relationships – for example, the relationship of design innovation to the productdevelopment process. If a complex system is understood in terms of its overall shape as well as its constituent parts, we are better able to effect systemic change. Systems thinking can be used to explain and understand everything from ideation to product development, from manufacturing to sales, to inventory changes in the supply chain. As we have seen, in the fast-fashion model the manufacturer is chosen on the basis of price, so as to deliver the lowest possible retail price to the customer. That is the extent of the design, sourcing and manufacturing relationship. However, by interconnecting the design process itself to sourcing, product development, manufacturing, PRODUCT PRICE LUXURY GOODS SECTOR PYRAMID SYSTEMS THINKING KEY Wages Harsh and unethical working conditions Moderately regulated production houses Garment manufacturing Non-regulated sweatshops supervision ownership for it MANUFACTURING LEVEL contractors/factory No way to regulate Some relief efforts by bigger brands to 102 103 The Fashion Entrepreneur Guide A key product refers to a product or a group of products that are typically the bestsellers, the most profitable and most recognizable items that a brand offers. Iconic examples of these are the Chanel quilted-leather handbag or monogrammed Louis Vuitton luggage, Comme Des Garçons’s iconic geometric constructions, and Vivienne Westwood’s irreverent twists on British classics. Key products are critical to the success of a brand because they represent the brand’s quality, style and point of difference. They are often the products that consumers closely associate with the brand and may be the reason why they choose to engage with it in the first place, becoming synonymous with its identity. Key products can also help differentiate a brand from its competitors. They often have unique features or characteristics that set them apart and create a competitive advantage. Furthermore, key products can also provide a foundation for brand extensions and diversification. Louis Vuitton’s luggage (see box opposite) has, over the years, been reinvigorated with the graffiti of New York designer Stephen Sprouse and the dotted art of iconic avant-garde Japanese artist Yayoi Kusama. Once a brand has established a strong reputation with its key product, it can leverage that reputation to introduce new products that are related to or build upon the key product’s success. For example, Nike’s key product is athletic Key product Fashion brands start with the product. Without a strong product offering a fashion brand cannot sustain itself. Key products are the foundation of a brand. Comme Des Garçons has unique and recognizable brand ‘look’. This niche, be it within streetwear, sportswear, luxury goods or another sector again, will determine your target consumer, the price point of your products and the channels of distribution you will pursue. It is also important to consider the scale of your business here. For example, if your product fills a gap in the market or solves a ‘pain point’, how large is the total addressable market TAM)? footwear, but the brand has successfully expanded into apparel, accessories and equipment (see box p.110). Within the Greene Street flagship of Louis Vuitton in New York, the brand introduced the Atelier at Louis Vuitton Soho – an artisanal workshop dedicated to customization and artistic craftsmanship that honours the brand’s savoir faire. Skilled in-house artisans meticulously hand-paint custom designs on hard-sided luggage (see p.176), apply heat-stamped monograms to items like luggage tags, and conduct minor repairs on customers’ existing Vuitton pieces. The emphasis on personalization and the rich history of the brand aligns seamlessly with Vuitton’s strategic shift towards catering to a more exclusive clientele. Identifying a niche In order to work out whether your key product will succeed or not, you must first identify a niche in the market. To do this you may use market research or your own instinct or a mixture of both. Market research could entail identifying and analyzing competitors, as well as predicting consumer habits through demographic and psychographic analysis (see Part 4, Market Research, p.124). Your instinct may also play a part in helping you find a niche if, for example, you have spotted a gap in the market. Spreads not final

Marketing Fashion

Third Edition:

Strategy, Branding and Promotion

Harriet Posner (Author)

Practical guide to the principles of fashion marketing.

• The only introductory, fully illustrated book on fashion marketing.

• This book includes real-life examples which put the theory into practice.

• This third edition includes updated material on social media and digital technology including AI/AR/VR and UX, while also following recent disruptions to traditional marketing frameworks.

HARRIET POSNER is a fashion educator, author, and consultant with more than 40 years’ experience in the fashion industry and 25 years in fashion education as a programme director and course leader. After graduating from Central Saint Martins, University of the Arts London, she established her own knitwear label selling in major stores worldwide and dressing celebrities including Madonna. She has worked as a fashion designer, retail buyer and international consultant in fashion marketing and branding.

9781529420326 Paperback 288 pages

AUGUST 2024

$45.00 / £38.00

Approx. 10.1

15 STUDENT & PROFESSIONAL

inches x 7.5 inches / 257

190

1 Marketing Theory Marketing is not the art of finding clever ways to dispose of what you make. Marketing is the art of creating genuine customer value.” Philip Kotler This chapter introduces you to essential marketing theory and the strategic tools used by marketers. The most fundamental of these are the Marketing Mix and the strategic model of Segmentation Targeting and Positioning known as STP Marketing Strategy In this chapter we will consider what marketing is, and give range of definitions in an attempt to show as broad a picture as possible, while also explaining the concepts of Unique Selling Point (USP) Differentiation Added Value and Competitive Advantage By the end of this chapter you should be able to understand the basics, and then, going forward, it will be possible for you to consider in more detail how the theory might apply in practice to fashion marketing and promotion. Chapter 2: The Fashion Market outlines the basic structure of the fashion industry and its seasonal cycles. It explains the different levels of the market and provides information on emerging global fashion markets along with such growing markets as rental fashion, pre-loved fashion and the increasing trend for mend and repair. Chapter 3: Research & Planning explains the concept of the marketing environment and the areas to be researched and analysed when gathering market and trend intelligence. It gives an overview of marketing research methods, how to monitor the market, and how to use research when planning a marketing strategy. Chapter 4: Understanding the Customer focuses on research into and analysis of customers. It explores ways in which a business can analyse its customer base so as to understand their requirements and target products, marketing strategies and social-media communication accordingly. Key to this chapter is the concept of the customer journey from first awareness to brand engagement, purchase, loyalty and brand advocacy. It explains the impact of psychology on consumer purchasing behaviour and offers techniques for creating customer profiles. Chapter 5: Introduction to Branding explains the fundamentals of branding and why brands are such valuable assets. The chapter covers brand strategy and management, shows how brands are created, and explains the importance of brand identity as a strategic tool for building relationship between a brand and its customers. Chapter 6: Fashion Promotion covers the main types of promotional activity employed in fashion retail and e-commerce. It covers fashion advertising, sales promotion, PR and social media, as well as how to measure the effectiveness of campaign. A broad selection of case studies highlights current trends in contemporary fashion promotion. Who is this book for? Marketing Fashion is for anyone interested in the world of fashion and how it works. Fashion marketing, branding and promotion are integral to the system, and an essential area of study for all who plan career in the industry. This book is designed specifically for students of these disciplines, but those studying fashion design or who wish to start their own brand will also benefit. Fashion is never static, and marketing, branding and promotion for fashion do not always conform to standard theoretical formulae. To be successful, you need to build on basic principles and adapt ideas so as to meet the challenges of each new market situation. Marketing Fashion aims to educate but also to inspire, and you are encouraged to use the material as a platform for further research and inquiry. 6 Marketing Fashion The Fashion Market 83 82 is estimated to exceed US$400 billion in 2027. The United Nations has a fact sheet on people with disabilities. This quotes data from the World Health Organization stating that ‘around 15 per cent of the world’s population, an estimated billion people, live with disabilities. They are the world’s largest minority.’ Also, it is worth considering that many people experience some level of disability at different points in their lives – after an accident or surgery, for example, or as they age. There are several fashion brands that cater for the adaptive fashion market. The best-known are Tommy Adaptive by Tommy Hilfiger and the Nike Go FlyEase, designed for all, but specifically for those who can’t put on shoes independently. Other fashion brands in the inclusive/adaptive space include the Belgian brand So Yes; IZ Adaptive, started by Izzy Camilleri; the US brand Billy Footwear, started by Darin Donaldson and Billy Price; Unhidden, launched by Victoria Jenkins; Differently Enabled, launched by Craig Crawford; Megami, a post-mastectomy lingerie brand; and the inclusive design brand Social Surge, started in the USA by Meredith Wells along with three other founders. All these brands agree that personal style and a fashion identity are just as important for disabled consumer as for anyone else. This chapter has outlined the fundamentals of the fashion industry, the fashion system, seasonal cycles and the market sectors. The next chapter looks more deeply at research and planning. The topic of marketing research will be explained, with information on the processes of analysis, planning and developing a marketing strategy. Franceska Luther King is a fashion-industry insider. She worked as designer and creative director for 25 years, travelling the globe pulling together trends and directions for some of the world’s best-known fashion brands in the UK and USA. As result she has an extensive knowledge of fabrics, vintage textiles, pattern-cutting and garment-making, but also, having seen at first hand the impact of fashion and clothing on the planet, she has become increasingly passionate about sustainability. This is why she launched Restyle. Quoting the designer and activist Orsola de Castro, Luther King believes that circular fashion is the best way forward for this industry, and that ‘the most sustainable garment you have is the one already in your wardrobe.’ Restyle offers a range of services, including the specialist repair of intricate luxury fabrics, especially delicate silk, lace, organza, wool and leather; and customizing garments that are already in your wardrobe but that might need updating, adapting or altering. Having been properly trained as a fashion designer, Luther King understands some of the older techniques and skills used in couture, and has several VIP customers for whom she alters designer or couture pieces. ‘Every job is different,’ Luther King says. ‘Each specific item presents a new challenge. have to think carefully about the right techniques and approaches to use to ensure really professional and tailored result.’ She understands how clothes should fit and how to adjust ready-to-wear garments, tailoring them for a specific client. She has had clients who have been known to buy a garment in the wrong size, just so that they can have it. Then she gets to work, offering a couture-level service, believing that there is nothing more flattering than a garment made to fit properly. Your wardrobe reimagined RESTYLE combat the cycle of fast fashion by applying my expertise to lend a new lease of life to everything from lingerie and lace to tailoring and leather.” Franceska Luther King example of invisible mending. The delicate organza hard to handle. The garment was made with what are known as French seams, with which all raw edges are deftly encased in special double seam, so as not to show in the finished garment. This adds an extra layer of complexity to the may look simple, but involved taking the dress apart and removing the lining, to reshape the shoulder. Altering one element can affect another area, in this case the armhole and positioning of be factored in carefully and adjusted to  Tommy Hilfiger ‘Adaptive’ collection fashion show during the 29th Annual Race to Erase MS Los Angeles, 2022.  Represents fashion show, modelling bag from her own accessible ‘SB’

mm x

Pattern Cutting Deconstructed:

Wearable Art

Monisola Omotoso (Author)

Shape, form, color and line are the visual language of abstract art and the inspiration for the designs in this creative patternmaking book.

• An original, creative approach to patternmaking in a beautiful package.

• This book will appeal to art lovers as well as home-sewing crafters and fashion students.

• Monisola Omotoso is a dynamic author with a diverse and engaged following across different platforms.

Wearable Art

Besides founding her company Pattern Cutting Deconstructed, MONISOLA OMOTOSO, has taught at numerous institutions including the Royal College of Art and Central Saint Martins, and London College of Fashion. She has collaborated with and held workshops at the V&A, designed for wide range of brands (from Alexander McQueen to Birdsong) and launched a course with Domestika.

9781529430981

Paperback

128 pages

MARCH 2025

$27.00 / £22.00

Approx. 10.2 inches x 7.5 inches / 260mm x 190mm

16 STUDENT & PROFESSIONAL

Monisola Omotoso

cover

Draft

Designing Futures:

Speculation, Critique, Innovation

Benedikt Groß, Eileen Mandir (Authors)

One of the things that makes us human is we don’t just live in the here and now. Unlike other creatures, we can not only anticipate the immediate future but also the distant future. We all have an inner clock. How can we use it to create the best outcomes?

• A fully illustrated book with specially commissioned color diagrams bringing the theory to life.

• Rich in international case studies, including new ones commissioned for the English edition.

• Relevant to designers in a range of disciplines as well as general readers fascinated by futurology.

EILEEN MANDIR combines her experiences in design, engineering and coaching to create discourse and change - for people, systems, and organizations. She is Professor for Systemic Design at the Faculty of Design at the University of Applied Sciences Munich.

Spread not final

BENEDIKT GROSS is an antidisciplinary designer. Working at the intersection of people, technology, and futures somewhere within the Bermuda of Design Futuring, Generative Design and Data. He is Professor of Interaction & Strategic Design at the HfG Schwäbisch Gmünd and is codirecting there the chapter of Gestaltung.ai, a research project funded by the BMBF that focuses on AI in design education.

9781529435054

Hardcover

256 pages

500 images

SEPTEMBER 2024

$45.00 / £35.00

Approx. 9.6 inches x 6.7 inches / 244 mm x 170 mm

17 STUDENT & PROFESSIONAL

Draft cover

How to Think and Design in the Third Dimension

Paul Jackson (Author)

A unique introduction to the principles of 3D symmetry for designers who think and create in three dimensions.

• Introduces designers to a new and creative language of 3D form derived from 3D thinking.

• Only book about 3D symmetry written as a visual subject.

• Contains 60 construction projects, more than 80 color photos, 300 step-by-step illustrations and links to 32 short videos, all exclusive to the book.

PAUL JACKSON is a renowned professional paper artist, bestselling author of over 30 books on paper arts and crafts, teacher, and passionate advocate of folding as a language of design.

9781529432046

Paperback

144 pages

80 color photos, 300 step by step illustrations

OCTOBER 2024

$40.00 / £30.00

Approx. 8.7 inches x 8.7 inches / 220 mm x 220 mm

18 STUDENT & PROFESSIONAL

Drawing for Product Designers Second Edition:

From Hand Sketching to Virtual Reality

Kevin Henry (Author)

Everything a product designer needs to know about drawing - from hand sketching to virtual environments.

• A revised and updated edition with in-depth coverage of traditional sketching skills and CAD.

• Includes cutting-edge coverage of digital user interface/user experience design.

• Accompanied by step-by-step tutorials and new case studies of leading designers.

• Additional resources such as videos accompany the book.

KEVIN HENRY is Professor at Columbia College in Chicago where he is coordinator of the Art and Design Department’s Product Design programme. He is also an independent design consultant and an award-winning furniture designer. Kevin has interviewed leading designers such as Petra Blaisse and Konstantin Grcic and is a regular speaker on both furniture and design.

9781529420289

Paperback

232 pages

400 images

JANUARY/FEBRUARY 2025

$50.00 / £40.00

Approx. 11 inches x 8.5 inches / 280 mm x 216 mm

19 STUDENT & PROFESSIONAL

Draft cover

Editorial Design Third Edition:

Digital and Print

Cath Caldwell (Author)

Indispensable and enlightening guide to the latest processes of editorial design for print and digital formats.

• This third edition includes the most recent developments in visual journalism with over 100 new images, as well as new chapters on independent magazines and the seamless integration of print with digital.

• Contains updated case studies, tips, and profiles of leading designers in the field.

EDITORIAL DESIGN

CATH CALDWELL is Senior Lecturer at Central Saint Martins, University of the Arts, London, working on the Graphic Communication Programme. Cath is a founder member of the Editorial Designers Organisation.

9781529419825

Paperback

240 pages

420 images SEPTEMBER / OCTOBER 2024

$40.00 / £30.00

Approx. 10 inches x 8.5 inches / 256 mm x 215 mm

20 STUDENT & PROFESSIONAL 1 EDITORIAL DESIGN 2 CHANGING EDITORIAL FORMATS 3 INDEPENDENT MAGAZINES 4 COVERS 5 SEAMLESSLY INTEGRATING DIGITAL AND PRINT 6 INSIDE THE PUBLICATION 7 CREATING LAYOUTS 8 ESSENTIAL DESIGN SKILLS 9 LOOKING BACK

DIGITAL AND PRINT Third edition

The designer’s essential toolkit to the ever-evolving world of creative editorial design.With profiles of leading contemporary designers who share their expertise and advice to help readers reach the top of the profession. 9 EDITORIAL DESIGN This book is a guide to editorial design for the printed page and for digital forms of publishing. It connects editorial design history with current practice and explains many underlying principles to enlighten and inspire the beginner. The word ‘editorial’ means articles that express the editor’s opinion on subjects of a particular interest at a particular time, but editorial design has come to mean curated storytelling for those with a passion for sharing a point of view, interests or even a brand. Editorial design is no longer bound by the rectangles of printed pages, but is enjoyed in a variety of ways such as websites, apps and social media platforms. Its main purpose has not changed though: it remains about good communication and a passion for storytelling. This chapter provides an introduction to the subject and looks at: EDITORIAL DESIGN DESIGN AND COMMERCE WITHIN EDITORIAL 1 Special issue The Atlantic designed by Bobby C. Martin (see p. 229) Changing editorial formats In the UK The Guardian newspaper continues to be a pioneer in walking the line between its digital and print editions. In 2021 editor Katharine Viner led the team in consolidating the weekend magazine print editions. Meanwhile subscribers to the digital editions unexpectedly soared to new levels. By the time the UK came out of its ‘plan B’ lockdown in 2022, many Guardian readers had established new habits. Viner and the design team led by Alex Breuer seized the moment and switched to a striking large-format weekend tabloid magazine. The recognition that people wanted to get off their screens for the Saturday edition meant that, once again, the double-page spread could be a luxurious treat, whether for fashion, reportage or a long read. Typographically, the use of condensed font Titling Gothic Skyline by Font Bureau harked back to the glorious 1970s days of Twen and Nova delightfully pre-internet, giving The Guardian fresh visual confidence. A nod to accessibility came with the increased font size, adding to legibility. In a 2021 interview with Matt Alagiah on the design website It’s Nice That, deputy creative director Chris Clarke shared how the move to use strong fonts would support the design of the app. ‘We’re investing more design resource into the digital experiences of this content’, he noted, ‘and hoping to craft meaningful storytelling moments where we can.’ Going further back to 2018, the newspaper itself was turned from a Berliner broadsheet into ‘compact’ edition (a term Viner preferred to the more derogatory, UK-centric ‘tabloid’). This move saved on production costs, and kept the paper going during a period when it could make itself financially viable. Back in 2005 The Guardian became the first large-circulation British daily to have front-to-back colour, something that its creative director at the time, Mark Porter, says was necessary because ‘real life is in colour, and in an age when we are in competition with TV and the internet as news providers, it’s crazy to attempt to do it without full colour. That is a twentiethcentury approach which readers found very frustrating.’ In that iteration, ’s redesign incorporated a move to a brand-new format – the Berliner format used by Le Monde newspaper. The paper was forging its own path with a format that Porter says ‘has a unique ability to combine convenience for the reader with serious journalism, contemporary approach to design, and the demands of advertisers’. Its approach to design has always been intelligent and forward-thinking; in 1988 a radical redesign by Pentagram’s David Hillman split the newspaper into two sections, unveiled a new masthead and, most importantly, introduced the idea of ‘white space’ to reinventing newspapers and magazines for a new era Alex Breuer, Executive Creative Director, The Guardian This memorable and iconic photo of Greta Thunberg by Marcus Ohlsson was commissioned for the launch issue cover of the revamped Guardian Saturday magazine. The dripping (apparently crude) oil creates a striking contrast to Greta’s unblemished youthfulness. newspaper design, a concept previously restricted to magazines. ‘Everything changed with the Hillman redesign. It wasn’t just a new look; it was whole design philosophy, probably the first time any newspaper really had one’, says Porter. ‘The designers who followed (Mike McNay, Simon Esterson and myself) have had very strong set of principles to work with’, he adds. These principles were adapted in the 2005 redesign by following Hillman’s own clear vision of how a newspaper should work –a vision ‘that was based not on journalistic habits and traditions, but on sound design principles’. Although Mark Porter left in 2010, his influence remains. He says, ‘when you do a newspaper redesign you are also designing website, pages for mobile devices and for apps. It is becoming unusual just to do job for print. Conceptually it all has to fit together and it’s about having visual identity for multichannel brand.’ Alex Breuer joined in 2015 as creative director and the latest editions show bold commitment to storytelling and refreshing use of illustration. The current connection to the online design is seamless for the reader and picks up on the bold font, use of colour and visual sophistication. The use of eye contact and pun within the headline makes beautiful spread more than the sum of its parts. The centred design makes Greta’s stare bore into us, in an iconic image. Marcus Ohlsson and the SPD Gold Medals for this work in 2022.

By Cath Caldwell

Bookbinding:

The Complete Guide to Folding, Sewing & Binding

Franziska Morlok, Miriam Waszelewski (Authors)

A unique and essential reference guide for designers, explaining industrial bookbinding techniques with a focus on the design and conception of print products.

• This book contains everything you need to know about folding, stitching, and binding to create beautiful books.

• An essential reference for designers, packed full of insights from the world’s best bookbinders.

• An inspirational guide to the full range of binding possibilities, with clear explanatory illustrations.

• A beautifully designed book which will be a wonderful addition to your design library.

FRANZISKA MORLOK has worked at Sagmeister inc, Leonardi.Wollein and Fons Hickmann m23 and currently runs her own studio, Rimini Berlin.

9781786271686

Hardcover

416 pages

AUGUST 2024 (US ONLY – UK EDITION PUBLISHED 2018)

$60.00 / £50.00

Approx. 9.5 inches x 7.3 inches x 1.4 inches / 242 mm x 186 mm x 36 mm

21 STUDENT & PROFESSIONAL 44 Planning Printed sheets What is crucial is that all the pages in book can be divided evenly across the printed sheets. A single sheet will fit at least 4 pages, and other common sizes can fit 8, 12, 16, 24, 32 or even 64 pages. The total number of pages must be divisible by the number of pages per sheet. An 80-page book could have sheets with 16 pages on each; if the pages were especially large, however, this might require the use of 10 sheets of 8 pages instead. It’s essentially about arranging the maximum possible number of pages on a single printed sheet in order to make the most efficient use of space. This avoids any empty pages on the final folded sheet. The number of pages that can be arranged on a sheet also depends on its weight – the denser the paper, the less often it should be folded. Imposition is usually done digitally by the printer using special software. They will also position other important elements on the sheet, including crop marks registration marks and fold marks After folding and trimming, the pages should be in the correct order. Sheets used in printing books are traditionally folded with three cross folds (also called right-angle folds) to form an octavo: a signature with 16 pages and 8 leaves. Each leaf is therefore one eighth the size of the basic sheet. A sheet may be folded more or fewer than three times, creating signatures with different page counts. These terms are independent of size. 4 pages, 1 cross fold = folio 8 pages, 2 cross folds = quarto 16 pages, 3 cross folds = octavo Files for printing should always be generated as PDF of single pages. At the point where one sheet changes to the next, there may be colour deviations in double-page images or misalignments across the gutter. 48 Right: Several gathered, still untrimmed, folded sheets. The protruding edges and folding perforation can be clearly seen. 13 12 Thread sewing 171 Half binding 350 Rounded spine Thread sewing 171 Four-piece case 346 Flat spine Thread sewing 171 Half binding 350 Flat spine Thread sewing 171 Full binding 346 Flat spine Thread sewing 171 Full binding 346 Rounded spine Thread sewing 171 Padded case 354 Ribbon Thread sewing 171 Swiss binding with a hard cover Thread sewing 171 Single-piece case 336 Rounded spine Overview of different covers Thread sewing 171 Open spine Thread sewing 171 Flush board binding with spine backing Plastic cover 342 Thread sewing 171 Open spine Flush board binding with spine backing 322 Lay-flat binding incorporating board (as used for children’s board books) Lay-flat binding 161

The Jane Austen Game:

An immersive boardgame – play as your favorite Austen heroine!

Barry Falls (Illustrator)

Ellie Dix and Mandela Fernandez-Grandon (Authors)

Play as your favorite Jane Austen heroine in this immersive new board game perfect for the whole family.

• Building on a successful series, this follows on from The World of Jane Austen, Matchmaking: The Jane Austen Memory Game and Jane Austen Playing Cards.

• A board game with specially tailored, brand-new gameplay that everyone will enjoy.

• Deepen your Austen knowledge as you play with synopses and key points about the characters in the accompanying booklet.

BARRY FALLS is an illustrator based in Belfast, Northern Ireland. He has worked for The New York Times, The Guardian, American Airlines, Unicef and Random House.

9781399618199

Game

Game board, 6 individual player boards, 156 game cards, 240 tokens (60 of 4 different kinds), 6 player counters, 6 player aids, and 1 die 6 players

SEPTEMBER 2024

Cards not final

$35.00 / £25.00

AGE 8+

Approx. 10.43 inches x 10.43 inches x 2.55 inches

265 mm x 265 mm x 65 mm

22 GIFT & GAMES

The World Of Jane Austen:

A jigsaw puzzle with 60 characters and great houses to find

John Mullan (Author), Barry Falls (Illustrator)

9781786279118

Puzzle

$21.99 / £16.99

FEBRUARY / MARCH 2021

Jane Austen Playing Cards:

Rediscover 5 Regency Card Games

John Mullan (Author), Barry Falls (Illustrator)

9781913947187

Playing Cards

$14.99 / £12.99

SEPTEMBER 2021

Matchmaking:

The Jane Austen Memory Game

John Mullan (Author), Barry Falls (Illustrator)

9781399601252

Playing Cards

$16.99 / £14.99

SEPTEMBER/OCTOBER 2022

23 GIFT & GAMES

ALSO AVAILABLE:

The World of Miss Marple:

A 1000-piece Jigsaw Puzzle

Agatha Christie Ltd, Chris Chan (Author) Ilya Milstein (Illustrator)

Piece together a glorious garden party scene at the St Mary Mead Vicarage so you can help Miss Marple spot all the crimes and culprits.

• The next instalment in our popular range of products in collaboration with the Agatha Christie Limited.

• Spot famous characters, locations, and crime-solving clues as you build the puzzle.

• Includes fun facts about the stories from Agatha Christie’s Miss Marple novels on a beautifully illustrated fold-out poster.

AGATHA CHRISTIE LIMITED (ACL) has been managing the literary and media rights to Agatha Christie’s works around the world since 1955, when the company was set up by Christie herself. It is now chaired and managed by Agatha Christie’s great grandson James Prichard.

ILYA MILSTEIN is an Italian-born, Australianraised, and New York-based self-trained illustrator. His work has been recognised by American Illustration and Communication Arts; he has received a gold medal from the Society of Illustrators.

9781399608657

Puzzle

1000 pieces + foldout poster

SEPTEMBER 2024

$21.99 / £16.99

Approx. 10.55 inches x 10.59 inches x 2.12 inches

268 mm x 269 mm x 54mm

24 GIFT & GAMES

The World of Oscar Wilde:

A 1000-Piece Jigsaw Puzzle by

Adam Simpson Adam Simpson (Illustrator)

This 1000-piece puzzle reimagines Wilde’s life and scenes from his novels, plays and other writings in glorious detail.

• The next instalment in the World of... series of literary jigsaws with a title that is perfect for both bookshops and non-trade.

• Oscar Wilde is a well-loved writer famous for his quips and razor-sharp wit.

• These puzzles are the perfect gift.

• The accompanying puzzle poster features extra information about Wilde’s work and things to spot so that you can learn as you piece it all together.

ADAM SIMPSON’s work always features a strong emphasis on drawing. He has contributed to major exhibitions in London, New York, Edinburgh, Bologna, and Japan. His work has been shortlisted for a British Design Award.

9781399620017 Puzzle

1000 pieces + information poster SEPTEMBER 2024

$21.99 / £16.99

Approx. 10.59 inches x 10.59 inches x 1.89 inches 269 mm x 269 mm x 48 mm

25 GIFT & GAMES 1ooo Pieces & A GUIDE TO HIS WORKS The World of oSCAR wILDE The World of oSCAR wILDE TEXT BY DR SARAH PARKER WALT WHITMAN DORIAN GRAY AUBREY BEARDSLEY LADY WINDERMERE ILLUSTRATED BY ADAM SIMPSON OSCAR WILDE SALOMÉ A JIGSAW PUZZLE BY ADAM SIMPSON THE WORLD OF oSCAR wILDE WoOW_Box_Top_3.indd 1

A Book Lover’s Christmas:

A 1000-piece jigsaw puzzle

Michael Kirkham (Illustrator)

The perfect holiday puzzle for all the family!

• These are well-loved novels/writers who will be championed in bookshops and other places our World of series does so well. This puzzle makes the perfect Christmas gift.

• The accompanying puzzle poster features extra information about each of the novels/writers and things to spot so that you can learn as you piece it all together.

MICHAEL KIRKHAM is an illustrator working internationally in the fields of advertising, editorial and design. He teaches on the illustration programme at Duncan of Jordanstone College of Art & Design, University of Dundee.

9781399625500

Puzzle

1000 pieces + foldout poster SEPTEMBER 2024

$21.99 / £16.99

Approx. 10.47 inches x 10.47 inches x 1.96 inches 266 mm x 266 mm x 50 mm

26 GIFT & GAMES

27 GIFT & GAMES

The World of Terry Pratchett:

A Discworld Jigsaw Puzzle

by Paul Kidby Dunmanifestin Ltd, Paul Kidby (Illustrator)

The must-have jigsaw puzzle for Pratchett fans featuring all your favorite characters from Discworld.

• Paul Kidby is the author of The Art of Discworld, which has sold over 75,000 copies in all editions. He is Sir Terry Pratchett’s artist of choice.

• Perfect for Terry Pratchett fans. This jigsaw puzzle is accompanied by a poster with character bios.

• Terry Pratchett’s Discworld novels have sold over 100 million copies in 37 languages.

SIR TERRY PRATCHETT was the acclaimed creator of the global bestselling Discworld series, the first of which, The Color of Magic, was published in 1983. In all, he was the author of over fifty bestselling books which have sold over 100 million copies worldwide. His novels have been widely adapted for stage and screen, and he was the winner of multiple prizes. He was awarded a knighthood for services to literature in 2009, although he always wryly maintained that his greatest service to literature was avoiding writing any.

PAUL KIDBY, Sir Terry Pratchett’s artist of choice has designed the covers for the Discworld novels since 2002 and is the author of the bestselling The Art of Discworld.

9781399620697 Puzzle

1000 pieces + foldout poster

OCTOBER 2024

$23.99 / £18.99

Approx. 10.51 inches x 10.51 inches x 1.89 inches 267 mm x 267 mm x 48 mm

28 GIFT & GAMES

THE WORLD OF

TERRY PRATCHETT

29 GIFT & GAMES 1 11 13 23 22 34 41 52 12 24 33 43 17 18 27 38 45 56 40 46 48 20 15 44 35 36 31 21 29 58 63 64 65 66 67 68 69 70 73 74 76 77 78 81 82 83 88 91 93 94 95 96 98 100 101 102 106 108 110 112 113 116 118 120 121 122 123 127 128 129 130 133 135 136 137 138 BVN_TheWorldOfTerryPratchett-Poster-3.indd 20/03/2024 15:48 It has been a massive task getting this lot together over time and space. Oh, the arguments about who would stand where. Some felt they deserved to have pride of place, while others had very strong views about who they would not stand near – for fear of a knife in the back or an equally dreaded severe scolding. There was feuding and fighting and desire to settle old scores. Not least of all was the likelihood that certain participants would have others for lunch. Now, all magic on hold, all weapons sheathed (well, almost) and Death’s lifetimers stilled, Otto Chriek mopped his brow, set the timer and ran into position. ‘Everyone say chiz!’ Detritus An ancient troll who found employment anywhere people needed to be thrown very hard out of places for money. He joined the Ankh-Morpork City Watch and rose to the rank of Sergeant. Boggis 24 ‘Remember all the little gangs of thieves fighting all the time? It got so that there was hardly any energy left to actually steal things,’ said Mr Boggis, President of the Thieves’ Guild. Moist von Lipwig 25 Postmaster General of the AnkhMorpork Post Office, Master of the Royal Mint and negotiator for the Ankh-Morpork and Sto Plains Hygienic Railway. Constable Flint 32 A troll officer in the Watch. Constable Flint dipped his finger into a black-market consignment of ammonium chloride cut with radium and had to spend three days tied to his bed until the spiders went away. Hamish 34 The aviator feegle in the Nac Mac Feegle clan. His parachute was technically ‘paradrawers’, since it was made of string and an old pair of Tiffany’s best Sunday drawers, well washed. Hughnon Ridcully 39 Chief Priest of Blind Io. Both gods and magic required solid, sensible men, and the brothers Ridcully were solid as rocks. And, in some respects, as sensible. C.M.O.T Dibbler 47 Everyone in Ankh-Morpork knew Dibbler. He sold pies and sausages off a tray, usually to people who were the worse for drink who then became the worse for pies. Astfgl 63 Lord of Hell, Master of the Pit, King of the Demons. The problem with being evil was that demons were not great innovatory thinkers and really needed the spice of human ingenuity. Lady Sybil Ramkin 67 Lady Sybil Ramkin was the richest woman in Ankh-Morpork. Well-connected, partly through a network of old school friends, she was an excellent diplomat. She bred swamp dragons and had written several volumes about their diseases. Lord Havelock Vetinari 73 Ruler of Ankh-Morpork, a tyrant and good at it. He was educated at the Assassins’ School where he perfected that little expression he had which never, ever gave you a clue what he was thinking. Leonard of Quirm 74 Artist and inventor, imprisoned by Vetinari for safe keeping. It was as if all the genius of a civilization had funnelled into one head which was, therefore, in a constant state of highly inventive spin. Mort 76 Mortimer, from the octarine grass country, was apprenticed to Death, but had difficulty accepting peoples’ fates. He married Ysabell and became Duke of Sto Helit. Death 76 The Stealer of Souls, Defeater of Empires, Swallower of Oceans, Thief of Years, The Ultimate Reality, Harvester of Mankind – Death ushered souls into the next world. Ysabell 77 Death’s adopted daughter. She lived in Death’s house where no time passes – she had been sixteen for 35 years. Lord Downey 78 Head of the Assassins’ Guild in Ankh-Morpork. His speciality was poison, in particular poisoned peppermints. Constable Carrot Ironfoundersson 79 Raised as a dwarf, Carrot was a proud member of the Ankh-Morpork City Watch, where he was promoted to Captain. He was direct, honest, good-natured and honourable in all his dealings. Lupine 80 A wereman – technically a wolf but every full moon he turned into a wolfman. A member of the Fresh Start Club for the undead in Ankh-Morpork. He fell in love with Ludmilla Cake. Dr Whiteface 81 Head of the Guild of Fools and Joculators in Ankh-Morpork. No clowns are funny. But even clowns are frightened of something, and that was the white-faced clown. Dr Whiteface. Ghenghiz Cohen 86 Cohen the Barbarian. The greatest hero the Disc ever produced, he was a very old man, his thin body was a network of scars and his dentures were made of diamond trolls’ teeth. With the help of his gang, the Silver Horde, he became Emperor of the Agatean Empire. Sergeant Fred Colon 87 A long-serving officer in the AnkhMorpork City Watch. He was slow, stolid and not very imaginative. Captain Sam Vimes 88 His Grace the Duke of Ankh, Commander Sir Samuel Vimes, as he became, was Head of the Ankh-Morpork City Watch. He came from humble origins and disliked the monarchy and aristocrats but, embarrassingly, found himself in a position of privilege, through unlooked-for promotion and his marriage to Sybil Ramkin. Verence II 90 King of Lancre, although he started out as the Fool at the court of Duke Felmet, the murderer of King Verence I. He had formed the unusual opinion that the job of a king is to make the kingdom a better place for everyone to live in. Esmerelda Weatherwax 91 The village witch of Bad Ass in Lancre, Granny Weatherwax was not the head witch on the Disc, that would be quite against the spirit of witchcraft. She didn’t believe in the use of magic; mostly she used headology and was a skilled borrower (able to enter the minds of other creatures). Mustrum Ridcully 93 Archchancellor of Unseen University, a man designed by Nature to live outdoors and happily slaughter anything that coughed in the bushes. The University tradition of promotion by filling dead men’s pointy shoes had lately ceased. This was largely because Ridcully was big and kept himself in trim. Rincewind 94 There are eight levels of wizardry on the Disc; Rincewind has failed to even achieve level one. However, he does have an innate gift for languages, which enables him to shout, ‘don’t kill me!’ and be understood in a hundred different countries. Constable Angua von Uberwald 97 A werewolf from Uberwald. She was a valued member of the Watch, due in part to her ability to smell colours and tear out a man’s jugular vein. Lu-Tze 98 A History Monk from the Oi Dong monastery in the high Ramtops. The rumour is that the monks have some kind of duty to see that tomorrow happens according to some mystic plan, but for some time now their job has been to see that tomorrow happens at all. Tiffany Aching 104 Discovered by Miss Tick when she was nine years old, Tiffany became the witch leader that they didn’t have. She lived and worked on the Chalk. ’Tiffany’ in the speech of the Feegles, Tir-far-thóinn, means Land under Wave. Gytha Ogg 105 Nanny Ogg lived in Lancre close to her very large family (she had three husbands of her own). She loved a sing-song and always carried a string bag up her knicker leg for party food. Her cookery book, The Joye of Snackes, was very successful. Greebo 106 Nanny Ogg’s cat. Ferocious dogs would whine and hide under the stairs when Greebo sauntered down the street. Foxes kept away from the village. Wolves made a detour. ‘He’s an old softy really,’ said Nanny. Igor 110 One of many Igors. They were all expert surgeons and had an inbuilt desire not to see anybody wasted. They practised their skills freely and generously. An Igor always had his heart in the right place. Or a heart, at least. Eskarina Smith 112 The eighth child of an eighth son, Esk was mistakenly given a powerful staff by a wizard. Unseen University had never admitted women, but she gained entry with Granny Weatherwax’s help. Goodboy Bindle Featherstone of Quirm (Errol) 115 Regarded by Sybil Ramkin, who bred him, as a ‘total whittle’, he was adopted by the Watch as a sort of mascot. He turned out to be a throwback to the original space-faring dragons, which flamed backwards. The Librarian 118 The Librarian hadn’t always been an ape. A magical library is a dangerous place to work, and he’d been turned into an orangutan as a result of a magical explosion. The Luggage 119 No other item in the entire chronicle of travel accessories had quite such a history of mystery and grievous bodily harm. It was made of sapient pearwood and was able to follow its master anywhere. Death of Rats 120 It specialised in rats, but also dealt with gerbils, mice and hamsters if Death was busy. Tended to spend a lot of time under barns and anywhere people had put down a plate of bran laced with strychnine. The Amazing Maurice 125 Maurice had never eaten anything off the dump. A good motto in life, he’d reckoned, was: don’t eat anything that glows. But he ate a rat who had. Suddenly other cats were stupid whereas he was self-aware, smart and he could talk. Sardines 126 An Educated Rodent – one of Maurice’s clan of rats. They read the notices and the labels off old rusty cans and gave themselves names they liked the sound of. Dangerous Beans 129 A nearly blind albino, Dangerous Beans was the nearest thing The Clan had to a wizard. Feegles 140 A feared clan of pictsies who left Fairyland then lived in a mound on the Chalk. They called themselves the Wee Free Men and their battle cry was: ‘Nae king! Nae quin! Nae laird! Nae master! We willna’ be fooled again!’. 1. LIAS BLUESTONE (CLIFF) 2. GNOLL 3. RIMFISHER 4. THE OLD COUNT DE MAGPYR 5. EXPLETIVE D***** 6. DETRITUS 7. COALFACE 8. CRYSOPHRASE 9. RUBY 10. YETI 11. EXPLETIVE F*** 12. EXPLETIVE B***** 13. DORFL 14. IGNEOUS 15. BEL-SHAMHAROTH 16. LOBSANG LUDD 17. PROFESSOR HICKS 18. IXOLITE 19. MIME ARTIST 20. THE BURSAR 21. DOLLY GOLIGHTLY 22. LADY LILITH DE TEMPSCIRE 23. DRUELLAE 24. BOGGIS 25. MOIST VON LIPWIG 26. BOB 27. PRINCESS JADE 28. WEN THE ETERNALLY SURPRISED 29. AGNES NITT 30. THE LECTURER IN RECENT RUNES 31. THE CHAIR OF INDEFINITE STUDIES 32. CONSTABLE FLINT 33. YOU BASTARD 34. HAMISH 35. FOUL OLE RON 36. MISS TICK 37. NIJEL THE DESTROYER 38. ADORA BELLE DEARHEART 39. HUGHNON RIDCULLY 40. BRUTHA 41. CONSTABLE VISIT 42. CONSTABLE SALACIA VON HUMPEDING (SALLY) 43. IMP Y CELYN (BUDDY) 44. THE ARCHASTRONOMER OF KRULL 45. MARCHESA 46. THE QUEEN OF THE ELVES 47. C.M.O.T DIBBLER 48. ARCHCHANCELLOR CUTANGLE 49. JUNIOR POSTMAN GROAT 50. BILIOUS 51. HEADACHE IMP 52. LUDMILLA CAKE 53. THE DUCKMAN 54. JEREMY CLOCKSON 55. OTTO CHRIEK 56. THE SENIOR WRANGLER 57. MRS LETICE EARWIG 58. CONINA 59. MRS EVADNE CAKE 60. RENATA FLITWORTH 61. ANGHAMMARAD 62. WINDLE POONS 63. ASTFGL 64. BARON SATURDAY 65. ERZULIE GOGOL 66. LIESSA WYRMBIDDER 67. LADY SYBIL RAMKIN 68. PTRACI 69. TEPPIC (PTEPPIC) 70. GLOD GLODSSON 71. GIAMO CASANUNDA 72. THE DEAN 73. LORD HAVELOCK VETINARI 74. LEONARD OF QUIRM 75. MORT 76. DEATH 77. YSABELL 78. LORD DOWNEY 79. CONSTABLE CARROT IRONFOUNDERSSON 80. LUPINE 81. DR WHITEFACE 82. ELLA SATURDAY 83. THE CREATOR OF XXXX 84. THE TRICKSTER 85. COIN 86. GHENGHIZ COHEN 87. SERGEANT FRED COLON 88. CAPTAIN SAM VIMES 89. MAGRAT GARLICK 90. VERENCE II 91. ESMERELDA WEATHERWAX 92. PONDER STIBBONS 93. MUSTRUM RIDCULLY 94. RINCEWIND 95. SUSAN STO HELIT 96. ALBERTO MALICH (ALBERT) 97. CONSTABLE ANGUA VON ÜBERWALD 98. LU-TZE 99. REG SHOE 100. MODO 101. GIMLET 102. CORPORAL NOBBY NOBBS 103. GRABPOT THUNDERGUST 104. TIFFANY ACHING 105. GYTHA OGG 106. GREEBO 107. TWOFLOWER 108. ERIC THURSLEY 109. CONSTABLE LITTLEBOTTOM 110. IGOR 111. SNORI SNORISSON 112. ESKARINA SMITH 113. MEPHISTOPHELES 114. MR FUSSPOT 115. GOODBOY BINDLE FEATHERSTONE OF QUIRM (ERROL) 116. OF THE TWILIGHT THE DARKNESS 117. YOU 118. THE LIBRARIAN 119. THE LUGGAGE 120. DEATH OF RATS 121. ICONOGRAPH IMP 122. STINKY 123. GASPODE 124. SOULCAKE DUCK 125. THE AMAZING MAURICE 126. SARDINES 127. DARK TAN 128. PEACHES 129. DANGEROUS BEANS 130. HAMNPORK 131. CYRIL 132. BUGGY SWIRES 133. WEE MAD ARTHUR 134. HORACE THE CHEESE 135. THE TOAD 136. THE EATER OF SOCKS 137. THE DIS-ORGANIZER 138. THE GREAT GOD OM 139. QUOTH THE RAVEN 140. FEEGLES

BVN_TheWorldOfTerryPratchett-Jigsaw-v1.indd 20/03/2024 2:02 pm

Agatha Christie Trivia:

300 killer questions on the Queen of Crime

Ilya Milstein (Illustrator)

Pit your wits against each other with 300 cunning questions about the Queen of Crime.

• 300 questions about Christie’s life and works, from her best-loved characters to her most pernicious poisons.

• Agatha Christie Limited have provided all the questions and will be supporting the product fully across all of their channels.

• This trivia game follows the bestselling World of Agatha Christie and World of Hercule Poirot jigsaw puzzles, as well as Agatha Christie Bingo and Agatha Christie Playing Cards.

• The cards come in a stunning, collectible box modelled on a 20th-century train carriage.

ILYA MILSTEIN is an Italian-born, Australianraised, and New York-based self-trained illustrator. His work has been recognised by American Illustration and Communication Arts, he has received a gold medal from the Society of Illustrators, and he was named an ADC Young Gun by The One Club for Creativity.

9781399622622

Card Game

300 illustrated question cards

SEPTEMBER 2024

$24.99 / £20.00

Approx. 3 inches x 7.1 inches x 3.8 inches

75 mm x 180 mm x 96 mm

30 GIFT & GAMES

The Brontës Playing Cards

Eleanor Taylor (Illustrator) Amber M. Adams (Author)

Play cards with the Brontës, from their friends and family to their most famous characters.

• The card deck has all the standard playing card suits, numbers, and court cards: can be used in exactly the same way as normal playing cards.

• This card deck has an accompanying by a booklet with background about Charlotte, Anne, Emily and Branwell Brontë, as well as their novels and characters, written by former Brontë Studies Editor-in-Chief, Amber M. Adams.

• All your favorite characters can be found on the cards as well as some real-life historical figures who played a part in their lives. The booklet includes fun facts about the Brontës, their lives and creations.

• Beautifully illustrated by Eleanor Taylor, bestselling illustrator of The World of the Brontës and The World of Virginia Woolf.

ELEANOR TAYLOR is an artist and illustrator. She works on many different projects: illustrating picture books, designing book covers and working for clients like the New York Times and New Yorker. In 2012 she was shortlisted for the Jerwood Drawing Prize and in 2015 won the Prize for Illustration.

AMBER M. ADAMS was Editor-in-Chief of Brontë Studies for 16 years. She was a librarian at Library Headquarters, County Down and at Queen’s University Belfast where she was also Executive Editor of the Journal of Documentation before retiring to Calgary in Canada.

9781399624305

Playing Cards

52 CARDS

OCTOBER 2024

$14.99 / £12.99

Approx. 3.62 inches x 4.56 inches x 1.49 inches 92 mm x 116 mm x 38 mm

31 GIFT & GAMES

32 GIFT & GAMES

Heartstopper Official Fan Cards

Alice Oseman (Author)

Lauren James (Author)

Character and conversation cards for fans of Alice Oseman’s Heartstopper.

• The fan cards have been published with full support from Netflix, whose hit tv adaption of Heartstopper is one of Netflix’s Top 10 shows.

• With original text by Lauren James, story consultant on Netflix series 2 and 3 of Heartstopper, so fans can get a new insight into the Heartstopper universe.

• The cards sensitively and inclusively discusses LGBTQ+ issues in a way that is accessible and supportive for young people, and encourages constructive conversation with peers, adults, and teachers.

ALICE OSEMAN is an award-winning author, illustrator, and screenwriter. Alice is the creator of LGBTQ+ YA romance comic Heartstopper, and the writer, creator, and executive producer for the Emmy Award-winning television adaptation for Netflix, produced by See-Saw.

LAUREN JAMES is the Carnegie-longlisted British author of many Young Adult novels, including The Loneliest Girl in the Universe. She is a RLF Royal Fellow at Aston University and the story consultant on Netflix’s Heartstopper (Seasons 2 and 3). She and Alice Oseman have been friends and co-writers since 2012, when their debut novels were released in the same year. Lauren is the founder of the Climate Fiction Writers League, and runs a Queer Writers group in Coventry

9781399624428 (US ISBN)

9781399624411 (UK ISBN) Card Deck (Self-Help / Affirmation Cards) 40 cards

SEPTEMBER 2024

$16.99 / £14.99

Approx. 5.19 inches x 4.17 inches x 1.89 inches

132 mm x 106 mm x 48 mm

33 GIFT & GAMES

Draft cover

Wonder Women:

A Happy Families Card Game

Isabel Thomas (Author)

Laura Bernard (Illustrator)

Discover 44 inspirational women in this Go Fish card game.

• From aviation to activism, discover 44 inspirational women from a range of fields.

• This card game is full of charming illustrations from New Zealand-based illustrator Laura Bernard.

• A fun way for kids to learn about inspiring women from the past and the present.

ISABEL THOMAS is a science writer and children’s author who has been shortlisted for the Royal Society Young People’s Book Prize, the ASE Science Book of the Year, and the Blue Peter Book Awards.

LAURA BERNARD is a New Zealand-based illustrator, pattern designer and all-round creative with a passion for watercolor. Specialising in portraits, Laura is particularly fond of painting strong women and their feline companions.

9781399623858 (US ISBN)

9781786272362 (Main ISBN)

Card Deck

44 cards + accompanying booklet JULY 2024

$11.99 / £9.99

Approx. 4.9 inches x 2.9 inches x 1.1 inches 104mm x 76 mm x 28 mm

34 GIFT & GAMES

The Infinite Maze: Race Through Space!:

Over two trillion mazes to try

Illustrated by Aleksandra Artymowska

Lay all 20 cards out in any order and solve the maze that’s different everytime you play.

• This game has infinite possibilities: the 20 maze cards can be put together in any order, in over two trillion different combinations, but there is only ever one correct solution!

• A game that provides multiple ways to play: use the cards to tell stories, compete against one another to race through the maze, or work together to get your character home.

• A dynamic game: build one continuous maze stretching up to 170cm (67 in) – a great game to play in a big space.

• The Infinite Maze featured award winning illustrations – it was selected for a Silver Sword at the KTR Awards in Poland (where Aleksandra lives).

ALEKSANDRA ARTYMOWSKA is an award-winning illustrator and children’s book author who is obsessed with mazes. Her previous titles with Laurence King include Amazed (2017), Find My Rocket (2018) and The Infinite Maze (2023). Aleksandra loves including lots of fine detail in her artwork to create fun, intricate puzzles that are a joy to solve. Just like her books (which have been published in over 20 countries around the world), Aleksandra loves to travel and has previously lived in both China and Israel. She is now based in her hometown, Warsaw, in Poland.

9781399625456

Card Deck/Game 1-10 players

Age 6+ 20 CARDS

OCTOBER 2024

$18.99 / £14.99

Approx. 6.8 inches x 4.3 inches x 1.1 inches 173mm x 109 mm 28mm

35 GIFT & GAMES

Cards not final

Tattoo Tarot:

Mini: Ink & Intuition

Diana McMahon Collis (Author) MEGAMUNDEN (Illustrator)

Harness the power and wisdom of the tarot with this palm-sized mini card deck.

• A brand-new Oracle format in a mini yet deluxe package with hinged lid and ribbon.

• An illustration led deck with a high-quality finish which will have maximum gifting appeal.

• This card deck builds on the successful Tattoo Tarot series which has been a breakout seller across multiple titles.

DIANA MCMAHON COLLIS is a tarot consultant, co-founder of the Tarot Association of the British Isles and author of the best-selling Tattoo Tarot

MEGAMUNDEN (Oliver Munden) is a UK-based illustrator whose commissions range from illustrations for advertising, fashion, product design and publishing, to large-scale murals and tattoo designs. MEGAMUNDEN’s The Tattoo Coloring Book was published by Laurence King in 2013.

9781399623544

Card Deck (Tarot/Divination Cards)

78 tarot cards

AUGUST 2024

$12.99 / £9.99

Approx. 3.5 inches x 2.2 inches x 1.3 inches 90 mm x 56 mm x 35 mm

36 GIFT & GAMES

Tattoo Tarot: Ink & Intuition

Diana McMahon Collis, MEGAMUNDEN

9781786272058

Card Deck (Tarot/Divination Cards)

$17.99 / £14.99

AUGUST 2018

Tattoo Tarot Journal

Oliver Munden and Diana McMahon Collis

9781786277299

Diary

$14.99 / £12.99 SEPTEMBER 2020

Tattoo Playing Cards

Illustrated by Oliver Munden, written by The Tattoo Journalist

9780857829122

Playing Cards

$14.99 / £12.99 APRIL / MAY 2022

ALSO AVAILABLE: GIFT & GAMES

Match a Masterpiece:

Find & pair 25 great artworks

The Metropolitan Museum of Art

Match two cards to reveal iconic artworks from the world-famous Met collection.

• The Metropolitan Museum of Art is one of the world’s largest and finest art museums and last year was visited by over 4.5 million people.

• This fun and simple game will have you piecing together famous works of art from throughout history and from across the world.

• Beautifully designed with 50 cards showcasing 25 works of art, accompanied by a 56-page booklet.

• The perfect gift for art fans or anyone wanting to discover treasures of The Met.

• Features art from Ancient Greek ceramicists to Dutch masters to French Impressionists. Art from: Italy, China, Spain, Germany, US, Africa, France, Japan.

THE METROPOLITAN MUSEUM OF ART is one of the world’s largest and finest art museums with a collection that spans 5,000 years of world culture, from prehistory to the present and from every part of the globe.

9781399623094

Card Deck

50 cards + 56-page booklet 2+ players

$16.99 / £14.99

OCTOBER 2024

Approx. 3.9 inches x 5.6 inches x 1.9 inches 100 mm x 144 mm x 47 mm

GIFT & GAMES 38

Sooner or Later?:

An art lover’s guessing game

The Metropolitan Museum of Art

Explore one of the world’s largest and finest art collections with this new timeline game, placing works of art in sequence with their contemporaries and those from throughout history.

• Piece together a timeline of art from the worldfamous Met collection.

• Includes 45 cards and a foldout timeline poster.

• Features art from Ancient Greek ceramicists to Dutch masters to French Impressionists. Art from: Italy, China, Spain, Germany, US, Africa, France, Japan.

9781399623100 Card Deck

45 cards + fold-out timeline poster 2-6 players

1978

ROY LICHTENSTEIN (1923–1997) STEPPING OUT

OIL AND MAGNA ON CANVAS

Roy Lichtenstein’s paintings based on comic strips are synonymous with Pop Art. This piece is marked by the artist’s customary restriction to black and white and primary colours, with thick black outlines, and the absence of any shading except that provided by the dots. Yet beneath the simple colour scheme and commonplace subject matter lies a sophisticated art founded on a great deal of knowledge and skill.

$16.99 / £14.99

OCTOBER 2024

Approx. 5.4 inches x 3.9 inches x 1.6 inches 138 mm x 101 mm x 40 mm

VINCENT VAN GOGH (1853–1890)SELF-PORTRAIT WITH A STRAW HAT

OIL ON CANVAS

Vincent Van Gogh produced more than 20 self-portraits during his Parisian sojourn from 1886 to 1888. Short of funds but determined nevertheless to hone his skills, he became his own best sitter: “I purposely bought a good enough mirror to work from myself, for want of a model.” This picture, which shows the artist’s awareness of Neo-Impressionist technique and colour theory, is one of several that are painted on the reverse of an earlier peasant study.

GIFT & GAMES

1887

The Mushroom Compendium:

Explore the Kingdom of Fungi

Lee Davies (Author) Alice Pattullo (Illustrator)

Unearth the hidden kingdom of mushrooms and explore the scientific, cultural, and fantastical aspects of fungi with this deck of 50 cards featuring mushroom profiles and stunning illustrations.

• There has been a surge of interest in mushrooms and this deck brings together fascinating information and stylish illustrations in one package.

• The card deck includes beautiful original illustrations which bring mushrooms to life in a colorful and design-led package that is perfect for gifting.

• Interest in the natural world and the interconnectivity of ecological systems is at a high, and this deck will explore how mushrooms are key to the survival of our ecosystem.

LEE DAVIES is responsible for curating the Fungarium collections at Kew Gardens in London, particularly those from outside of the British Isles, incorporating newly accessioned specimens and donated collections into the fungarium. He also participates in Kew’s science communications programme, focusing on fungal science.

ALICE PATTULLO is an illustrator based in East London. She works on commissioned illustrations for a variety of clients and regularly explores British traditions, sayings, rhymes, folklore and superstitions in her work.

9781399620864

Card Deck (Reference Cards)

50 cards

SEPTEMBER 2024

$24.99 / £16.99

Approx. 6.7 inches x 4.3 inches x 1.73 inches 170 mm x 110 mm x 44mm

40 GIFT & GAMES Russula vesca Mushroom_Compendium_Cards_FINAL 2 - amended.indd 29 14/02/2024 16:41 Key Characteristics: • Brown to dark brick-red cap. • White stem and gills. • Appears in late summer and autumn in deciduous woodland. Along with the common name of bare-toothed russula, this mushroom is also known as ‘the flirt’. Like other Russulaspecies, this fungus is fairly easy to identify as a russula because its cap has a coloured surface but the gills and stem are bright white. Other species can be in bright and vivid colours, but always in combinations with white gills and stem. The gills are also somewhat brittle, and if you prod them with a finger they will break apart. This gives the whole group the common name of brittlegills. It might seem counter-intuitive to taste an unknown mushroom, but for Russulas, it can be a simple and useful identification characteristic; similar-looking species of Russula can have very different tastes; some can be spicy or peppery, others mild or nutty. Of course, you should spit it out after tasting and only try this test if you are very certain it is a Russulayou are looking at. This species is ectomycorrhizal, meaning it forms mutually beneficial partnerships with trees. The bare-toothed russula mainly forms partnerships with deciduous trees, and can be found across Europe and North America. Distribution: Europe and North America category: Symbiotic Family: Russulaceae Bare-toothed Russula Mushroom_Compendium_Cards_FINAL 2 amended.indd 30 14/02/2024 16:41

The Tattoo Sticker Book:

150 Tattoo-inspired Stickers

Megamunden (Illustrator)

150 peelable tattoo stickers from the bestselling author, illustrator, and tattoo artist Megmunden.

• The first tattoo sticker book to market combining the perennial trends for skate stickers and tattoo culture.

• For fans of Stick and Skate, Stickerbomb Skate, The Tattoo Coloring Book and Megamunden’s Tattoo Tarot (330K copies sold worldwide).

• 150 high-quality, peelable stickers beautifully reproduced in a gifty package.

MEGAMUNDEN or Oliver Munden works as a tattooist at Rock Steady Tattoo on the south coast of England, UK, as well as taking on commercial artwork projects. He is the author of The Tattoo Coloring Book, Tattoo Tarot and The Tarot Coloring Book, and more books and gifts published by Laurence King.

9781399621915 Paperback

88 pages

150 full color peelable stickers

NOVEMBER 2024

$19.99 / £16.99

Approx. 9.9 inches x 8.7 inches / 252 mm x 220 mm

41 GIFT & GAMES

cover Spreads not final

Draft

Extraordinary Things to Cut Out and Collage

Maria Rivans (Illustrator)

9781786274946

Paperback

$19.99 / £16.99 MARCH / APRIL 2020

Make a Vision Board: A Manifesting Collage Book

CanDace Johnson (Author)

9781399614825

Paperback

$19.99 / £16.99 APRIL / MAY 2024

ALSO AVAILABLE: 42 GIFT & GAMES

Even More Extraordinary Things to Cut Out and Collage

Paula Gonzalez (Illustrator)

In the ‘official’ Extraordinary Things series, this is the perfect resource for collaging work with over 1000 vintage and retro images to cut out plus backgrounds.

• The follow up to the bestselling Extraordinary Things to Cut Out and Collage, which sold over 90k copies.

• The book includes over 1000 retro and vintage images to cut out for the booming community of collagers.

• Includes everything from vintage nature, flowers, and insects through 1950s food and domestic life to retro UFOs and space travel.

• From the very successful artist Paula Gonzalez, who brings a fresh range of images to boost your creative work.

• This is the perfect companion to Extraordinary Things To Cut Out and Collage with fresh set of imagery.

MSGONZALEZ is the alter ego of Paula Gonzalez, a Spanish collage artist based in London. In her work she mixes the old with the new, often with a surreal twist, to create a new reality. Her style evolves constantly, but her obsession with color prevails.

9781399623445 Paperback 208 pages 1000 images

OCTOBER 2024

$19.99 / £16.99

Approx. 12.2 inches x 9.3 inches / 310 mm x 235 mm

43 GIFT & GAMES

Draft cover

Astrology Journal:

Unlock Your Connection to the Cosmos with Astrological Guidance and Exercises

Sandy Sitron (Author) Celia Jacobs (Illustrator)

A guided journal to help you harness the changing energy of the stars as they move through the zodiac for a positive, empowered, high-vibe life.

• Written by popular astrologer Sandy Sitron, author of Moon Journal (Ebury, 2017), the Crystal Astrology for Modern Life series (Laurence King, 2022) and What’s in Your Stars?: An Astrology Deck for Daily Guidance (2023).

• Astrology is the most popular subject in modern MBS, however there are few guided journals.

• For fans of The Signs and Moon Journal.

• This journal is in a highly finished gift package with gold foil cover, bellyband, pull-out zodiac calendar, ribbon marker and 15 original illustrations.

• The book includes bright and inspiring illustrations for each of the twelve astrological seasons by LA-based illustrator Celia Jacobs.

SANDY SITRON is an astrologer, hypnotist and writer based in Saint Paul, Minnesota. She is the author of Moon Journal, 2017, the twelve book series Crystal Astrology for Modern Life, 2022 and What’s in Your Stars?, 2023. Sandy offers symbolic horoscopes, astrology readings and classes through her website, www.sandysitron.com.

CELIA JACOBS is a Portland-born illustrator currently living and working in Los Angeles. Her interests include nature, music, and social issues, and she illustrates them with sensitivity and California technicolor.

9781399603072

Hardcover

192 pages 15 color images

SEPTEMBER 2024

$21.99 / £16.99

Approx. 8.3 inches x 5.8 inches x 0.8 inches

210 mm x 148 mm x 20 mm

44 GIFT & GAMES

Spread not final

Wild Alchemy:

An astro-botanical guide to the magic, myth and medicine of plants

Jemma

Foster (Author)

A medicinal bible that brings together traditional alchemical practices with plant lore.

• This book combines two strong trends - astrology and botanicals. With original material on the two, this book is a strong category star.

• The books’ content covers everything from recipes to practical advice, making this both a good self-purchase and gift.

• Jemma Foster is a very motivated and engaged author, with a developing profile.

• A follow on from Wild Alchemy Lab (Spring 2023).

JEMMA FOSTER is a wildcrafter, astrologer and practitioner of plant and vibrational medicine. As a multi-disciplinary artist and educator, her work explores more-than-human intelligence and interspecies communication. She actively advocates for the agency and rights of plants as conscious beings. She is the author of Sacred Geometry (2020) and Wild Alchemy Lab: An Astrobotanical Remedy Deck (2023), and founder of botanical studio Mama Xanadu and mixed-media publishing house Wild Alchemy Lab, and co-founder of award-winning film studio Semantica.

9780857829153 Hardcover

192 pages

60 color images

OCTOBER / NOVEMBER 2024

$24.99 / £20.00

Approx. 9.4 inches x 7.5 inches / 240 mm x 190 mm

45 GIFT & GAMES Saturn is best viewed when in opposition – which occurs every 378 days, when Earth passes between it and the Sun. When this happens, it is brightest in the sky, rising in the east and setting to the west. Its glyph is the reverse of Jupiter’s, with matter presiding over the soul. Saturn is ‘the Lord of Time’ (after the Greek Cronos), and comes from the Latin meaning ‘to sow of plant’ – to manifest. It resides over karma, death and transformation. At the edge of the solar system, we see Saturn as the grand cosmic gatekeeper to the physical. It is the archetype of the spiritualization of matter, and in esoteric lore, any new levels of consciousness entering from outside of our solar system – as comets or asteroids with extra-terrestrial DNA – must first be received by Saturn’s force, making it the judge of human progression and giving birth to evolution. In this sense, Saturn is thought to guard the ancestral realm. The metal associated with Saturn is lead, the densest of the metals at the lowest rung of the ladder of the planets, representing the ego, bound by the conditioned self. The nature of Saturn is contraction, downwards and inwards motion of limitation. It is cold and dry by nature, and this boundary force is reflected in the morphology of its icy rings. Known as ‘the Great Malefic’, Saturn’s teachings offer profound transformation, but require that we face our shadows head-on to transmute our own boundaries and limitations. When Saturn first returns to transit the natal chart in the same position it was in at our birth, every 28–30 years, we often experience the dark night of the soul. In alchemy, Saturn is considered the beginning and the end of the Great Work, when we must offer to the flames what is no longer serving us. It is the initial stage of calcination, when the leaden and dross qualities of Saturn must be transformed through fire. All possibilities exist within the darkness of Saturn, and from this state of putrefaction, the light of Albedo will emerge from the dark (see page 18). Saturn is domicile in Capricorn and Aquarius, in detriment in Cancer and Leo, exalted in Libra and in fall in Aries. With Capricorn, it rules the tenth house of career and ambition. Saturn desires structure, order and strong ethics and values. It tempers and balances the planets, reflected in its exaltation in Libra, the scales of the zodiac. Saturn rules the spleen, bones, musculoskeletal system and teeth. It causes contraction, tension and the slowing down of metabolic functions, restricting flow in the body and also a build-up of matter such as stones. Saturn deficiencies need Jupiter’s nutritive expansive remedies, Mars and the Sun to warm the digestive system and break down rigidity and stagnation, and the Moon and Venus to lubricate the joints and oils in the body. Saturn deficiencies benefit from anodynes, circulatory stimulants, nutritive tonics, carminatives, antispasmodics, demulcents and relaxants. Saturn influences woody perennials, where the slow growth of heavy substance is revealed by growth rings that in turn mirror the rings of Saturn. Saturn plant remedies are astringent and cooling, nutritive and grounding. Often, their colours are mottled dark green, brown, and purples, which includes many poisonous plants such as hemlock and deadly nightshade. Comfrey Symphytum officinale is a plant of Saturn, a primary ingredient in salves for the skin and bones. Guelder rose (Viburnum opulus supports Saturn in its traditional use, earning its common name of crampbark. Mullein Verbascum thapsus is demulcent, cooling herb for relieving dryness, particularly in the respiratory and musculoskeletal systems. Horsetail Equisetum arvense) bears the ring signature of Saturn and corresponds to the physical form in its high silica content and action on strengthening the connective tissues, hair, skin and nails. Other examples of plants with Saturn energetics are balm of gilead, barley, birdsfoot trefoil, bistort, blackberry, black hellebore, boneset, buttercup, foxglove, fumitory, ground elder, ground ivy, herb gerarde, ivy, medlar, monkshood, moss, pansies, plantain, red cedar and oak (both of which contain traces of lead), rosebay willowherb, Solomon’s seal, St John’s wort, valerian, wild campion, wintergreen and yew. Saturn 138 CHAPTER IV THE ALCHEMICAL HERBAL 139 Sweet Violet and Pineappleweed Pastilles Sweet violet Viola odorata opposite) is a cooling, moistening herb, acting as a demulcent and expectorant, clearing mucus and also acting as a calming nervine to soothe Cancerians when they feel overwhelmed. Its relative heartsease (Viola tricolor shares the same qualities. Sweet violet is said to comfort and strengthen the heart, heal deep trauma and soothe the emotional body. It is used in modern herbal medicine to treat stomach and breast cancer. Its heart-shaped leaves are an indicator for its use as a cardiac tonic. Sacred to Dionysus, violets were added to wine and worn as amulets by the Greeks and Romans to prevent hangovers, aid sleep and help them make merry. Amethyst was used in a similar way, and may be added to remedies to enhance this influence. Energetically, violets bring peace and cool heat or anger in the emotional body. Their sweet, alluring scent links them to Aphrodite, Venus and love. Pineappleweed or wild chamomile Matricaria discoidea is one of the most aromatic wild varieties –crush the flowering tops of this plant and you are met with the smell of fresh pineapples, hence its name. It is also prolific, found on the edges of fields and pushing through the cracks in urban pavements. Testament to this, in the language of the flowers it means ‘strength through adversity’, due to the folklore belief that the more trodden it is, the more it grows. Pineappleweed is a calming digestive herb to settle upset stomachs and relaxing nervine that calms the emotional waters of the body. METHOD 1 Gather violet flowers and pineappleweed buds on Monday (the Moon’s day). 2 Pick the petals from the flowers, along with any leaves. Wash and place in a glass jar with an equal amount of boiling water, and leave to steep overnight in the moonlight, with crystal of amethyst if you wish. 3 Taking teaspoon of the liquid at a time, blend slowly with raw local honey and marshmallow root until it forms a paste. 4 Roll the paste into balls and leave to airdry. APPLICATION Store in an airtight container and suck as lozenges to calm a nervous stomach and soothe your inner waters.

Draft cover

The Book of Bird Poems

Ana Sampson (Author) Ryuto Miyake (Illustrator)

A book of sixty beautiful poems to celebrate the wonder of birds and connect us back to nature. For all birdwatchers and all lovers of nature.

• A beautiful full-color illustrated book of bird poems - the perfect stocking filler for nature enthusiasts everywhere.

• Some 60 poems from Shakespeare to Ted Hughes, including John Keats, Edgar Allan Poe, Henry Longfellow, Percy Shelley, and Christina Rossetti.

• Includes over 60 illustrations from the amazing artist Ryuto Miyake, from the modest robin to the proud eagle, colorful parrot to the dark, sinister crow.

• Perfect gift for birdwatchers, nature lovers and all those who bought A Book of Tree Poems, A Nature Poem for Every Day of the Year, and A Book of Dog Poems.

ANA SAMPSON is the author of many bestselling anthologies including I Wandered Lonely as a Cloud and Other Poems You Half-Remember from School and Green and Pleasant Land: Best-Loved Poems of the British Countryside. Ana studied English Literature at the University of Sheffield. She works in publishing PR and has appeared multiple times on radio and television discussing books and poetry.

RYUTO MIYAKE is an illustrator and graphic designer based in Tokyo. Miyake prefers traditional drawing styles, using acrylic gouache applied with a thin brush on stretched-out watercolor paper, but his detailed illustrations have a contemporary look. His clients include Gucci, Toyota, Frieze and Bottega Veneta.

9781399625630

Hardcover

128 Pages

OCTOBER 2024

$16.99 / £14.99 Approx. 7.3 inches x 5.3 inches / 185 mm x 135 mm

46 GIFT & GAMES

Spread not final

Wild Seas Jigsaw:

Stories of nature’s greatest comebacks: 1000 piece jigsaw with 20 shaped pieces

Helen Scales

(Author)

Good Wives and Warriors (Illustrators)

Discover the extraordinary ways the world’s oceans and sea life are coming back from the brink and making remarkable recoveries in this stunning new 1000-piece jigsaw puzzle, with 20 uniquely shaped pieces that give a new twist to puzzling.

• A brand-new jigsaw format, with 1000 pieces plus 20 unique pieces in the shape of the animals featured to add an extra twist to puzzling.

• The perfect jigsaw for the whole family to enjoy, from age 6 to adult, with fascinating stories from the natural world to read about while you puzzle.

• Illustrated puzzles involving animals, plants and the natural world are continually popular - this puzzle will combine those trends with an added new twist in the form of the 20 shaped pieces.

• A follow on from the children’s book Return of the Wild (Fall 2023).

DR HELEN SCALES is a marine biologist, writer, and broadcaster. Her ocean-based writing appears in National Geographic, The Guardian, New Scientist, and others. Helen appears regularly on BBC radio; she teaches at the University of Cambridge, advises the ocean conservation charity Sea Changers and is a storytelling ambassador at the Save Our Seas Foundation. Helen is the author of Around the Ocean in 80 Fish

BECKY BOLTON and LOUISE CHAPPELL (GOOD WIVES AND WARRIORS) have been working collaboratively as Good Wives and Warriors since 2007, soon after graduating from the Painting Department at The Glasgow School of Art. They divide their time between designing largescale installations for fine art settings and undertaking design commissions for companies in the UK and abroad. They are currently based in London.

9781399624312

Jigsaw

1000 pieces plus 20 unique pieces

Age 6+

SEPTEMBER 2024

$23.99 / £20.00

Approx. 7.71 inches x 10.7 inches x 1.8 inches

196 mm x 274 mm x 48 mm

47 GIFT & GAMES

Did You Fart?: A Matching & Memory Game

Easily playable and immediately repeatable format and game play

Nicholas M. Caruso and Daniella Rabaiotti (Authors)

Claudia Boldt (Illustrator)

Match 25 animals to the pumps, toots and trumps they let off in this colorful and engaging matching-memory game!

• An entertaining way for the whole family to learn fun and fascinating facts about the natural world.

• Full of colorful and engaging illustrations by Claudia Boldt mean the game can be enjoyed by the whole family, from young children to adults.

• Packed with subversive humour that children will find hilarious but isn’t too disgusting or rude.

• A follow up to Poo Bingo by the same illustrator.

DR. DANIELLA RABAIOTTI is an English environmental scientist and popular science writer based at the Institute of Zoology.

DR. NICK CARUSO is currently a Postdoctoral Associate at Virginia Tech in the Department of Fish and Wildlife Conservation. Together they wrote Does It Fart? (2017).

CLAUDIA is a children’s book author and illustrator. Her work has been selected for the Bologna Illustrators Exhibition and the Dolly Parton Imagination Library.

9781399625159 (US ISBN)

9781399626262 (Main ISBN)

Flash Cards

2-4 players

26 animal cards, 26 fart cards and a fact booklet

SEPTEMBER 2024

$14.99 / £12.99

Approx. 5.1 inches x 5.1 inches x 1.8 inches

131 mm x 131 mm x 46 mm

48 GIFT & GAMES

Pet Party: A Shaped Pieces Puzzle

Illustrated by Caroline Selmes

There are 50 unique pet-shaped pieces in this puzzle: can you fit them all together to complete their Pet Party?

• This puzzle continues the LKP line of animalthemed cluster puzzles, following the theme of the most successful adult puzzles.

• Each piece takes the shape of an entire animal, and no two shapes are alike! Plus, they don’t lock together like regular jigsaw pieces do, providing a whole new puzzling experience.

• Caroline Selmes brings personality to these domestic creatures so that each piece is a delight: a puzzle you could even frame! Yet the pieces are also delightfully accurate.

• The puzzle of Dogs and Cats were the most successful of the 299 puzzles so far and this is an eminently relatable theme for kids.

CAROLINE SELMES is an illustrator and former advertising art director based in Barcelona. Her projects for Laurence King include I Saw it First! Jungle, I Saw it First! Ocean, Dinosaur Bingo, Jungle Bingo, Who’s Hiding in the Jungle? and Dino Dash

9781399624343

Puzzle

50 pieces

OCTOBER 2024

$16.99 / £14.99

Approx. 8.6 inches x 8.6 inches x 1.8 inches 220 mm x 220 mm x 48 mm

49 GIFT & GAMES

Flip and Find: Pet Detectives

Zsolt Batki (Author) Yeji Yun (Illustrator)

Can you help the pet detectives find all the lost pets in this fast-paced game of matching and memory?

• The game has a very simple mechanic that can be learned in moments, but which allows for both simple and strategic play.

• A game that can be enjoyed by families together and adults of any age.

• Charmingly illustrated with lots of different popular pets.

• Includes a booklet giving the back-stories and information about all the pets.

ZSOLT BATKI is a writer, one-time actor, radio journalist, university lecturer and game designer, who works in digital marketing. A father of three, he loves designing fun games for families.

YEJI YUN is an illustrator based in Seoul, South Korea. Since graduating from Kingston University, UK, she has worked with international clients including Nike and Apple.

9781399620499 (US ISBN)

9781399625395 (Main ISBN) Game

Game board, 21 press-out tiles, 4 wooden playing pieces and 5 wooden collection counters

AGE 6+

2-4 players

AUGUST 2024

$24.99 / £18.99

Approx. 9.6 inches x 9.6 inches x 1.3 inches

245 mm x 245 mm x 35 mm

50 GIFT & GAMES

Space Bingo

Illustrated by Rob Hodgson

A playful, colorful, space-themed bingo game perfect for families.

• Rob has a proven track record of creating hilarious, engaging characters, creatures, and vehicles to populate this space scene.

• Spend quality time away from screens with this easy-to-play children’s bingo game. The game includes 8 double sided game boards so it can be played many times over.

• An easy-to-play bingo game for the whole family: be the first to fill your card to win BINGO!

• Follows the successes of Dinosaur Bingo, Scary Bingo, Jungle Bingo, Poo Bingo and more!

ROB HODGSON was born in a seaside town in the south of England in 1988. Today he lives in Bristol where he spends his days making a mess and turning it into quality illustration projects and books. In 2017 he released his first picture book, The Cave, and since then has published a small bookshelf more.

9781399624336

Game

Gameboard, 48 press-out chips, 8 game cards, 1-fold flat box, 150 counters on press-out sheets

OCTOBER 2024

$24.99 / £20.00

Approx. 8.7 inches x 8.7 inches x 2.3 inches

220 mm x 222 mm x 58 mm

51 GIFT & GAMES

Draft cover

Little Guides to Nature: Hello Fossils and Shells

Nina Chakrabarti (Author/Illustrator)

Get outside and explore a world of fascinating fossils and shells with this beautifully illustrated pocket guide for children.

• A collectable series of small format pocket guides for children, exploring various aspects of the natural world.

• Each pocket guide is packed full of information so children can immerse themselves in nature, with off-the-page activities and gallery-style spreads showing a multitude of fossils and shells!

• Nina Chakrabarti’s charming artwork sparks curiosity and affectionately illuminates the beauty around us, celebrating the art of looking closely.

Award-winning illustrator NINA CHAKRABARTI grew up in Kolkata, India and moved to the United Kingdom in her teens. She brings her joyful style and distinctive line quality to an eclectic range of commissioned work and has written several illustrated books for children. Nina lives and works in Hastings on the south coast of England.

9781510230521 (US edition)

9781510230514 (Main edition) Hardcover

AGE 5-7

48 pages

JULY 2024

$10.99 / £7.99

Spreads not final

Approx. 7.1 inches x 5.1 inches / 181 mm x 129 mm

CHILDREN’S 52

Little Guides to Nature: Hello Bugs

Nina Chakrabarti (Author/Illustrator)

9781510230507 (US ISBN)

9781510230491 (Main ISBN)

Hardcover

$10.99 / £8.99

APRIL 2024

5-7 YEARS

Little Guides to Nature: Hello Fungi

Nina Chakrabarti (Author/Illustrator)

9781510230460 (US ISBN)

9781510230453 (Main ISBN)

Hardcover

$10.99 / £8.99

SEPTEMBER 2023

5-7 YEARS

Little Guides to Nature: Hello Trees

Nina Chakrabarti (Author/Illustrator)

9781510230484 (US ISBN)

9781510230477 (Main ISBN)

Hardcover

$10.99 / £8.99

SEPTEMBER 2023

5-7 YEARS

CHILDREN’S 53

ALSO

AVAILABLE:

Dinopedia:

An Encyclopedia of Prehistoric Beasts

Tom Jackson (Author) Good Wives and Warriors (Illustrator)

A lavishly illustrated and fact-packed guide to dinosaurs—as you’ve never seen them before.

• Engaging, accessible text from Tom Jackson featuring a range of dinosaurs and prehistoric creatures from the Jurassic, Triassic and Cretaceous periods, fact checked by an expert in the paleontology field.

• Beautiful artwork from Good Wives and Warriors imagines dinosaurs in fantastical ways, but still following expert guidance on what dinosaurs could have looked like.

TOM JACKSON has written more than 80 books. Tom gets to write about a wide range of subjects, everything from axolotls to zoroastrianism. However, his specialties are natural history, technology, and all things scientific. Tom spends his days finding fun ways of communicating these kinds of facts, to all age groups and reading abilities.

BECKY BOLTON and LOUISE CHAPPELL (GOOD WIVES AND WARRIORS) have been working collaboratively as Good Wives and Warriors since 2007. They divide their time between designing large-scale installations and undertaking design commissions.

9781510230668 (US edition)

9781510230361 (Main edition)

Hardcover

AGE 7-9

96 pages

OCTOBER 2024

$19.99 / £20.00

Approx. 11.4 inches x 8.9 inches / 290 mm x 225 mm Spreads not final

CHILDREN’S 54

The Dragon Atlas: Legendary Dragons of the World

Anna Claybourne (Author) Pham Quang Phuc (Illustrator)

A beautifully illustrated guide to the world’s most fearsome and legendary dragons, with magical stories, maps, fascinating dragon facts, and tales of close encounters.

• Get to know your dragons with myths and legends from around the world.

• A beautifully packaged gift book on a popular topic with appeal for both boys and girls.

• This book features colorful and exciting illustrations accompanied by engaging stories and amazing dragon facts to truly immerse kids in the world of dragons.

ANNA CLAYBOURNE has written over 150 children’s books on all kinds of subjects, from sharks and black holes to Shakespeare’s life and Greek myths and legends. She knows a lot about conservation in the rain forests of Costa Rica as she once volunteered there for three months.

PHAM QUANG PHUC is a children’s book illustrator from Vietnam. It was Quang Phuc’s childhood dream to work on children’s books, and now he does, his focus is to bring stories alive with his vibrant and elaborate art.

9781510230606 (US edition)

9781510230590 (Main edition)

Hardcover

AGE 7-9

48 pages

SEPTEMBER / OCTOBER 2024

$21.99 / £16.99

Approx. 11.4 inches x 8.9 inches / 290 mm x 225 mm

CHILDREN’S 55 n the legends of the Orkney Islands, the Stoor Worm was an enormous sea dragon who terrorized the world. It could swallow and crush ships in an instant and crawl onto the land, sweeping whole towns into the sea. Wherever the Stoor Worm rested its mountainsized head on the shore, it commanded the local people to bring it seven young women to eat every Saturday. One day, the Stoor Worm arrived at a beautiful kingdom and made its usual demands. The people living there had to sacrifice their daughters to the dragon or risk their city being destroyed. But when the king’s own daughter was due to be eaten, he decided enough was enough. He announced that the person who killed the Stoor Worm would be awarded his magic sword, Sickersnapper, along with his kingdom. A young farmer’s son named Assipattle declared that he would take on the challenge. Everyone laughed, but Assipattle took some hot peat from the fire and rode his father’s fastest horse to where the dragon lay. Using the king’s boat, he sailed toward the monster, who opened up its vast mouth and swallowed the boat whole with Assipattle in it. Deep inside the Stoor Worm’s stomach, the boy threw out the burning peat, setting fire to the dragon’s insides. It roared in pain, breathing flames and thick smoke that filled the sky, hurling Assipattle and his boat back out of its mouth and onto the beach. The king, his people, and Assipattle clambered up a hill to watch as the dragon burned up, writhing and spluttering in agony. Its huge, forked tongue shot out of its mouth, carving a deep trench that became the Baltic Sea. Its teeth fell out, forming the Orkney, Shetland, and Faroe Islands. And finally, its burned body, alight with flames, curled up and became the land of Iceland. As the king had promised, he gave Assipattle his sword and his kingdom. Assipattle married the king’s daughter, and the people rejoiced that the Stoor Worm was no more. assipattle and the stoor worm THE DEFEAT OF A GIANT DRAGON ORKNEY, SCOTLAND I NORTH AMERICA TIZHERUK ALASKA, USA Stories passed down by the elders of the Inupiat people of Alaska tell of terrifying sea monster, the Tizheruk. With its huge head and snapping jaws, it can gobble up a human in seconds. There are varying descriptions of the rest of the Tizheruk’s body: Some say it has six legs, some two; some say it’s furry like seal, others report it has ghostlike, transparent skin. Take care when you venture out onto pier or jetty, since the Tizheruk can leap out of the waves to snatch its unsuspecting victims. GAASYENDIETHA LAKE ONTARIO, CANADA AND USA The Gaasyendietha, or meteor dragon, is giant dragon said to live in Lake Ontario, one of North America’s Great Lakes. According to the local Seneca people, this dragon came to Earth from space, riding on meteor or shooting star. Though it lives in the lake, it can fly and breathe fire, too. Whenever you see shooting star in the sky above Lake Ontario, it’s the Gaasyendietha soaring through the sky on trail of fiery flames. Don’t get snatched away by the scary SNALLYGASTER! Beware the cunning TIZHERUK Watch out for gaasyendietha flying over Lake Ontario. The mist-breathing its victims here. Here, you can find the PIASA dragon—or bird? Yucatan, home of KUKULKAN flying feathered serpent god. CANADA GREENLAND U S A MEXICO he continent of North America stretches from the icy frozen tundra in the north to the sweltering tropical islands of the Caribbean in the south, surrounded by the Pacific and Atlantic oceans. This is an ever-changing land of earthquakes and volcanoes, mountains and rivers, great forests, lakes, and sweeping wildernesses—perfect habitats for dragons. The cultures of these lands reflect their many Indigenous peoples, each with their own stories of magical and fearsome monsters. More recently, migrants and settlers from across the world have come to live here, bringing their own dragon legends with them. Flying, horned, and feathered serpent-style dragons are common in this continent, though you’ll find many others, too, from razor-toothed lake monsters to ravenous dragon-birds. Many of them are deadly, so always keep an eye on the sky and the water, and take care near creepy, gloomy caves. T TL NT CARI BEA C C OCEAN HUDSON BAY GUATEMALA CUBA HAITI

Spreads not final

Tell Us Apart:

A who’s who of confusing animals

Lucy

Thorn (Author)

Lucy Rose (Illustrator)

Discover the differences between the oftenconfused pairs of the animal kingdom, packed with facts about physical and behavioral animal characteristics.

• Animals are a perennially popular topic for children, making Tell Us Apart both fun and informative.

• Packed with scientific facts about various animals, ranging from social and behavioral facts to anatomical differences.

LUCY ROSE graduated from Falmouth University, UK, in 2015 with a BA Hons in Illustration. She is based in Devon, UK, where the beautiful countryside and the sea inspires her daily. Lucy’s love of vintage prints, art-deco posters, and textile patterns is reflected in her work, which has beautiful organic textures and graphic layering.

9781510230927 (US edition)

9781510230903 (Main edition)

Hardcover AGE 7+

48 pages

AUGUST 2024

$19.99 / £14.99

Approx. 11.4 inches x 8.9 inches / 290 mm x 225 mm

CHILDREN’S 56

Otters and minks are also members of the Mustelid family, and tend to be found in the wild beside rivers, streams and lakes. Minks are native to North America, but can also be found in many parts of Europe, Asia and South America too. Darker, almost black fur all over White spot on chin Bushy and small tail Brown fur and a pale belly Cream chin and neck Long and thick tail 18 19 Swims mostly submerged in water Much larger body. The length of an otter’s body from head to tail measures more than m When not diving, minks swim higher out of water Much smaller body. The length of a mink’s body from head to tail is only 50 cm - half the size of an otter’s Spreads not final

River otter Mink

How to Be a Super Awesome Artist:

20 art projects inspired by the masters

Henry Carroll (Author) Rose Blake (Illustrator)

With 20 exciting challenges inspired by great artists, experiment with art styles, build your creative confidence, and maybe even create a masterpiece of your own!

• From the bestselling author of Be a Super Awesome Photographer and the Read This series, Henry Carroll.

• The book features artworks by known artists as springboards for creative art challenges.

• Also includes extra spreads on art materials and techniques, and a brief history of art.

HENRY CARROLL studied photography at the Royal College of Art, and his work has been exhibited worldwide. Henry’s clear, jargon-free style of teaching has demystified the art world and inspired children to get creative.

ROSE BLAKE is an illustrator and artist who studied at the Royal College of Art. Her book A History of Pictures for Children (2018), written by David Hockney and Martin Gayford, won the New Horizons award at the 2019 Bologna Children’s Book Fair.

9781510230972 (US edition)

9781510230965 (Main edition)

Paperback

64 pages

AGE 7+

AUGUST / SEPTEMBER 2024

$14.99 / £9.99

Approx. 8.3 inches x 7.5 inches / 210 mm

CHILDREN’S 57

x 190 mm 35 34 Lauren Badenhoop, Dawn on Wade(2020 Lauren Badenhoop makes beautiful blobby paintings inspired by the colors of her home state of California. And when it comes to color, California has it all, from blue skies and golden beaches to dusty deserts, lush green vineyards, and massive mountains covered with bright white snow. Lauren carefully picks from the natural colors all around her to make harmonious, abstract paintings that reflect where she lives and how she feels. Make a blobby painting like Lauren’s, inspired by the colors of where you live. Use colorful language “Collect” colors by going on a walk and taking photos of the shades that catch your eye. When you get home, see which ones go together best and start mixing your paints to match the colors you’ve captured. Oils Oils produce beautifully rich colors, and their thick consistency lends texture and depth to paintings. Unlike watercolors, oil paints are opaque, meaning you can completely cover things up when you paint on top of them. The downside of oil paints is that they take days and sometimes weeks to dry, so things take longer. Also, because their base ingredient is oil, this type of paint can’t be dissolved in water, so you need to use something called turpentine to clean brushes. Acrylics In painting terms, acrylics are the new kids on the block because they were invented only in the 1950s. Acrylics take the convenience of watercolor and the vividness of oils to create a versatile paint that is easy to control. Like oils, they are thick and opaque, but because they are water-based (like watercolors) they can be thinned or cleaned with water and they dry quickly. For young, super-awesome artists like yourself, acrylics are a great way to get started. Paint is probably the most super-awesome art invention of all time. It comes in all kinds of different colors and consistencies, and is made up of all kinds of things— like water, oil, and even plants! You can’t be a superawesome artist without knowing a thing or two about paint, so here goes… Paint Nifty know-how Types of paint There are three different types of paint: Watercolors Watercolors usually come in the form of little blocks of pigment or in tubes, but it’s all the same stuff. To paint with watercolors, all you need to do is add water. A little water goes a long way and the more you add, the wishy-washier the paint becomes. Unlike other paints, watercolors are translucent, meaning they are semi-transparent. Spreads not final

Seven Small Inventions that Changed the World

Roma Agrawal (Author) Jisu Choi (Illustrator)

Award-winning engineer and bestselling author Roma Agrawal takes us on a spectacular journey through time as she introduces the seven small inventions that built and changed our world forever.

• A fact-packed, accessible, and intriguing introduction to STEM that will encourage children to be endlessly curious, investigate the things around them, and ask questions.

• Globally reaching stories cover everything from ancient Egypt and trades along the Silk Road to the invention of the watch and life on board the International Space Station.

• Written by British-Indian-American Roma Agrawal, bestselling author, award-winning engineer, and broadcaster, who is a tireless promotor of engineering careers for women and young people.

• Packed with strikingly vivid illustrations from Korean artist Jisu Choi, whose debut children’s book Beetles for Breakfast was shortlisted for the UK’s prestigious Royal Society Young People’s Book Prize 2022.

ROMA AGRAWAL (MBE) is an award-winning engineer, author, and broadcaster. She spent six years working on the Shard, designing its foundations and spire. She has featured on BBC World News and in Cosmopolitan (italics) magazine and, is the winner of a Royal Academy of Engineering Award. She is a tireless promoter of engineering and technical careers for young people, particularly underrepresented groups. She has advised policymakers and governments and has given talks around the world.

JISU CHOI is an illustrator based in South Korea. Her first book, Beetles for Breakfast, was shortlisted for the Royal Society’s Children’s Book Prize.

9781510230767 (US edition)

9781510230750 (Main edition) Hardcover

AGE 9-11

64 pages

AUGUST / SEPTEMBER 2024

$19.99 / £16.99

Approx. 12.3 inches x 9.6 inches / 313 mm x 245 mm

CHILDREN’S 58

OTHER STEM TITLES ALSO AVAILABLE:

The Element in the Room

Mike Barfield (Author), Lauren Humphrey (Illustrator)

9781786271785 (US ISBN)

9781786271778 (Main ISBN)

Hardcover

$19.99 / £14.99

SEPTEMBER 2018

9-11 YEARS

Albert Einstein’s Theory of Relativity

Carl Wilkinson (Author), James Weston-Lewis (Illustrator)

9781786277510 (US ISBN)

Hardcover

$22.99 / £17.99

SEPTEMBER 2020

9-11 YEARS

Little Guides to Great Lives: Charles Darwin

Dan Green (Author), Rachel Katstaller (Illustrator)

9781510230293 (US ISBN)

9781510230286 (Main ISBN)

Paperback

AUGUST / SEPTEMBER 2022

$9.99 / £5.99

7-9 YEARS

CHILDREN’S 59

UK Contacts and Distribution

LAURENCE KING PUBLISHING

GENERAL ENQUIRIES:

Laurence King Publishing Carmelite House

50 Victoria Embankment

Temple

London EC4Y 0DZ

T: + 44 (0)20 3122 6000

E: enquiries@laurenceking.com www.laurenceking.com

Sales and Marketing

For sales or marketing information, please contact: sales@laurenceking.com

Publicity

For press copies, please contact: press@laurenceking.com

Academic

For inspection copies, please contact: inspectioncopies@laurenceking.com

Editorial Submissions

Please send ideas and contributions to: commissioning@laurenceking.com

TRADE DISTRIBUTION AND ACCOUNTS

UK AND EXPORT:

Singapore and Malaysia

Pansing Distribution Pte Ltd (Books)

Times Centre

1 New Industrial Road

Singapore 536196

T: +65 6319 9939

E: infobooks@pansing.com

Germany, Austria and Switzerland

LKG Leipziger Kommissions - und Grossbuchandelsgesellschaft mbH

An der Sudspitze 1- 12 04571 Rotha

Samantha Bishara

T: +49 34206 65235

E: samantha.bishara@lkg.eu

The Netherlands

BIS Publishers

Postjesweg 1 1057 DT Amsterdam

The Netherlands

T: +31 (0)20 515 02 30

E: sales@bispublishers.com

Belgium

Hilde Seys

Louiza-Marialei 2, 2018 Antwerp, Belgium

T: +32 (0) 3 298 37 23

E: hilde@lusterweb.com

UK and all other territories in Export (except Australia, New Zealand, and India) Hachette UK Distribution Hely Hutchinson Centre Milton Road Didcot OX11 7HH

T: + 44 1235 759 555

E: hukdcustomerservices@hachette.co.uk

US Distribution and Contacts

California and select Texas (Austin and Houston)

Dave Ehrlich

T: 323-346-7498

E: dave_ehrlich@chroniclebooks.com

Pacific Northwest AK, WA, OR

Jamil Zaidi

T: 425-985-5657

E: jamil_zaidi@chroniclebooks.com

CO, ID, MT, UT, WY, NM, AZ

Chickman Associates

T: 650-642-2609

E: chickmanis@comcast.net

BOOKSTORE REPRESENTATIVES GIFT REPRESENTATIVES

California, Nevada, Hawaii; Southwest AZ, CO, NM, UT, WY

Stephen Young & Assoc. Los Angeles, CA Showroom

T: 800-282-5863

F: 213-748-5895

E: info@stephenyoung.net

Mid-Atlantic DC, DE, MD, Eastern PA, VA Harper Group

T: 888-644-1704

F: 888-644-1292

E: support@harpergroup.com www.harpergroup.com

Midwest IL, IN, KY, MI, OH Kelley & Crew Inc. Chicago, IL

T: 773-774-3495

T: 773-294-3203

F: 773-442-0810

E: kcrewreps@gmail.com

Midwest MN, ND, SD, WI

Anne McGilvray & Company Minneapolis, MN Showroom

T: 800-527-1462

F: 866-539-0192

E: hello@annemcgilvray.com

New England, New York Metro, New Jersey

CT, MA, ME, NH, RI, VT, Upstate New York Harper Group

T: 888-644-1704

F: 888-644-1292

E: support@harpergroup.com www.harpergroup.com

Midwest

IA, IL, IN, KS, KY, MI, MN, MO, ND, NE, OH, SD, WI

Abraham Associates

T: 1-800-701-2489

F: 952-927-8089

E: info@abrahamassociatesinc.com

New England and select upstate NY

CT, NH, MA, ME, RI, VT

Emily Cervone

T: 860-212-3740

E: emily_cervone@chroniclebooks.com

Select DC, Philadelphia, and New York Metro Accounts

Melissa Grecco

T: 516-298-6715

E: melissa_grecco@ chroniclebooks.com

Mid-Atlantic

DC, DE, MD, NJ, NY, PA, WV

Chesapeake and Hudson

T: 800-231-4469

F: 800-307-5163

E: office@cheshud.com

Pacific Northwest AK, ID, OR, MT, WA

Bettencourt

Seattle, WA Showroom

T: 800-462-6099

F: 206-762-2457

E: info@bettencourtgroup.com

Southeast AL, FL, GA, MS, NC, SC, TN

The Simblist Group Atlanta, GA Showroom

T: 800-524-1621

F: 404-524-8901

E: info@simblistgroup.com

South and Midwest AR, IA, KS, LA, MO, NE, OK, TX

Anne McGilvray & Company

Dallas, TX Showroom: Dallas Market Center

T: 800-527-1462

F: 866-539-0192

E: hello@annemcgilvray.com

West Virginia and Western PA

Pamela Miller

PDM Enterprises

T: 412-881-7033

F: 412-881-7033

E: repref23@aol.com

Canada

Raincoast Books 2440 Viking Way Richmond, BC Canada V6V 1N2

T: 604-448-7100

F: 604-270-7161

E: info@raincoast.com www.raincoast.com

Ampersand Inc.

Canada

British Columbia/Yukon/Nunavut

Pavan Ranu

T: 604-337-4055 ext. 400

E: pavanr@ampersandinc.ca

Kim Herter

T: 604-337-4054 ext. 401

E: kimh@ampersandinc.ca

Dayle Sutherland

T: 604-337-2441 ext. 404

E: dayles@ampersandinc.ca

Colin Rier

T: 604-243-5594 ext. 405

E: colinr@ampersandinc.ca

Alberta/ Saskatchewan/ Manitoba/ NWT

Dani Farmer

T: 604-337-4053 ext. 403

E: danif@ampersandinc.ca

Dayle Sutherland

T: 604-337-2441 ext. 404

E: dayles@ampersandinc.ca

2440 Viking Way, Richmond, BC, V6V 1N2

T: General phone: 604-243-5594

T: Toll-free: 866-736-5620

F: 604-337-4056

F: Toll-free: 866-849-3819 ampersandinc.ca

Ontario

Saffron Beckwith Ext. 124

E: saffronb@ampersandinc.ca

Morgen Young Ext. 128

E: morgeny@ampersandinc.ca

Nicole Jaeger Ext. 132

E: nicolej@ampersandinc.ca

Vanessa Di Gregorio Ext. 122

E: vanessad@ampersandinc.ca

Sarah Gilligan Ext. 129

Southeast

AL, AR, FL, GA, LA, MS, SC, NC, OK, TN, TX, VA

Southern Territory Assoc.

T: 772-223-7776

E: rizzosta@gmail.com

Library and Educational Accounts

Anastasia Scott

T: 415-537-4385

E: anastasia_scott@ chroniclebooks.com

E: sarahg@ampersandinc.ca

Kris Hykel Ext. 127

E: krish@ampersandinc.ca

Jenny Enriquez Ext. 126

E: jennye@ampersandinc.ca

Evette Fisher Ext. 121

E: evettef@ampersandinc.ca

Head Office: Suite 213, 321 Carlaw Avenue, Toronto, ON, M4M 2S1

T: 416-703-0666

T: Toll-free: 866-736-5620

F: 416-703-4745

F: Toll-free: 866-849-3819 ampersandinc.ca

Canada

Quebec

Hornblower Group Inc.

T: 514-704-3626

F: 800-596-8496

E:kstacey@hornblowerbooks.com

T: 514-239-3594

E:tboisvert-bhangu@ hornblowerbooks.com

Canada

Atlantic Canada

Hornblower Group Inc.

T: 1-855-444-0770 ext 2

Laurie Martella

E: lmartella@hornblowerbooks.com www.hornblowerbooks.com

Latin America, Caribbean, Bermuda

Hachette Book Group

Jennifer Gray

T: 212-364-1515

E: jennifer.gray@hbgusa.com