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Smile ID: Fashion and Style: the Best from 20 Years of ID Paperback – 30 Mar 2001
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The year 2000 marked the issue 200 and year 20 for i-D Magazine. Blending fashion and social documentation, early issues of i-D (now major collector's items) were presented as 40 pages stapled together. 'Smile i-D' incorporates a single spread from each issue of the magazine so far, capturing stars before they were even famous. With teamwork and innovation i-D is now at the forefront of contemporary fashion, culture and now has global distribution. It is a publication, which has revolutionised not only the world of fashion magazines but also fashion itself.
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Flicking through out the pages, i literally was like damn everytime i turned the page! if tumblr were a book, then this would be it. I mean, all the imagery is so, i mean i cant describe because it varies, but in two words i would say; edgy and outlandish.
I mean, this is not a book is not the best years of i-D, its more like a history archive of; fashion, style, photography, and culture though out the 80s, 90s and early millenium which are like the best decades. If you want to relive those eras then this book is worth a look.
I ended up buying my own copy of this book and use it as a reference, or just to look at in my spare time. I would really recommend this. If vogue is the bible of fashion, then this is the gospel of style and culture, and the gospel is the word of the lord, i mean even vogue cant touch this book. i'm telling you now.
IF YOU LIKE THEE MAGAZINE YOUR LOVE THIS BOOK
Most helpful customer reviews on Amazon.com
Throughout the nearly 600 pages of this heavy, photo-packed book (which I happily made the time to survey, one page at a time, front to back), you'll see a maturation from a haphazardly compiled fanzine of punk fashion to a more polished journal of all that which is currently fashionable. No subtle difference, indeed. Black and white photos of random subjects sporting the latest in 80's leather, safety pins and spiked hair give way in the 90's to better-produced shots of more recognizable models and artists. I'm impressed that the raw, "immediate" flavor of the photography and design just gets better throughout i-D's first twenty years.
There's not enough space to detail all the things I liked about this book, but I found especially interesting the early photos of some models and pop icons before they became widely known. I thought the numerous quotes by artists/actors/musicians added a good comical complement to the pictures. Also, the refinement (my opinion) of grahic design techinque is evident with the aging of i-D: it's not unlike looking at a scrapbook of an acne-ridden adolescent who grows into a hip and handsome young adult. Although i-D is somewhat new to me, it's now one of my favorite style publications. I wish I hadn't missed the first couple hundred issues, but I'm glad I got this book.
But then again, we're talking about i-D here.
For over two decades, Britain's i-D has had a singular mission of documenting street style, coupled with an utterly innovative artistic vision. Smile i-D is a 600-page retrospective incorporating covers and spreads from the first 200 issues of the magazine. More than this, it's a consummate documentation of the past twenty years of cutting-edge style and culture.
24 years ago, Terry Jones, then Art Director at British Vogue, decided to abandon his post to document underground, "street" style, then an unheard-of concept. The result was the founding of i-D magazine. Taking a journalistic approach, i-D sought to document the spirit and style of the real world by using the streets of London as its canvas.
At times, people ended up in i-D just because they looked either hip, unique, or bizarre enough. More often than not, it was all three.
As a result, every nascent trend of the past twenty years fell into the pages of i-D. Punks, mods, ravers, trustafarians, bikers, hip-hoppers, modern primitives, gearheads, drag queens, club kids, dominatrixes, skinheads, glam rockers, dreads, new wavers, and so on were documented equally with an utter disregard - almost a contempt -- of what the latest news from Milan or Paris was.
Taking the concept of innovation to the next level, i-D began to feature anyone who seemed to be on the verge of crossing over to the mainstream, and as you leaf through the pages of this retrospective, the roster of then-unknowns who graced i-D's pages and covers is nearly breathtaking. Boy George in 1980. Galliano and Margiela years before they became household names among the fashion cognoscenti. Sade in 1983, a full year before her debut album was released. Madonna in 1984, just as "Borderline" was beginning to break radio. The list goes on.
Of course, there is a method to all this madness. Over the course of its 608 pages, it becomes clear that the fever pitch that i-D has sustained into its third decade is the side effect of its goal: the total democratization of style. By highlighting every trend, fad, and style movement in existence it transcends the dictatorial nature of fashion magazines. There is no right or wrong, no "in" or "out". By presenting anything that looks good instead of prescribing a specific look, the concept of fashion is rendered irrelevant, usurped by a manic promotion of individual style. All racial, social and economic boundaries are erased, replaced by the notion of pure individuality.
Accompanying all of this is Jones's unique art direction, which although it has evolved a bit over the course of twenty years, continues to complement the "anything goes" ethos of i-D with a likeminded aesthetic. Minimal layouts are sandwiched in between pages of utter chaos. Text runs in all directions ont any given page. Models fly across the pages, their expressions and bodies frozen in gleeful contortion. Full pages are devoted to minute details, while entire style spreads take up a half-page.
Absorbing all of this in one or two sittings is impossible; the combination of Jones' hyperkinetic visual style and the nonstop barrage of style, music and pop culture will literally make your head spin. Smile i-D is a coffee table book, to be sure, but its eye-popping visuals and undiluted take on everything that has been hip for the past twenty years ensure that it will be a book you come back to again and again.