ACID-FREE is back at Blum & Poe. Join nearly 100 publishers and galleries for a full weekend of talks, readings, signings, music, food, drink, and—of course—books and publications for perusal and sale.

This year, PARIS LA is happy to share a table with F magazine

See link below for schedule and details.


Friday through Sunday, November 1, 2, and 3.

Blum & Poe

2727 South La Cienega Boulevard, Los Angeles.

From top: PARIS LA 16, inside cover photograph of Michèle Lamy by Katerina Jebb; F magazine, no. 8; Kate Zambreno, Appendix Project, Semiotext(e) ; Animal Shelter 5, edited by Hedi El Kholti and Chris Kraus, Semiotext(e); Huma Bhabha, They Live, David Kordansky; Andrea Büttner, David Kordansky; K8 Hardy, How To: Untitled Runway Show, DoPe Press (2); Alex Hubbard, Eat Your Friends, DoPe Press. Images courtesy and © the artists, galleries, photographers, and publishers.


“The [ceramics] collaboration with Astier de Villatte began five years ago, but my friendship with the owners, especially Benoit, goes back a long time… I work with their Tibetan artisans. I make samples first and then we work together to add the volume, especially on the large trees, which are about a metre tall. The artisans are always singing or chanting; I feel very serene when I’m with them.” — Setsuko Klossowska de Rola

INTO THE TREES—an exhibition of sculptures and paintings by Setsuko at Gagosian Paris—showcases the artist’s recent ceramics and bronzes.


Through June 1.

Gagosian Paris

4 rue de Ponthieu, 8th, Paris.

See Dorothée Perret, “Setsuko and the Magic Kimono,” portraits by Katerina Jebb, PARIS LA 16 (2018): 77–83.

From top: Setsuko, Retour, 2015–2016, terra cotta; Into the Trees installation view, Gagosian Paris, 2019; Setsuko, Chemin de vigne, 2016–2017, enameled terra cotta; Katerina Jebb, Setsuko Klossowska de Rola, 2018, image from PARIS LA 16; Setsuko, Souvenir d’une vie 2, 2015–2016. Artwork images © Setsuko Klossowska de Rola, artwork photographs by Zarko Vijatovic, courtesy of the artist and Gagosian.


DoPe Press is extremely happy to see the return of the Printed Matter–LA Art Book Fair to the Geffen Contemporary at MOCA. We will be in section H07 on the main level.

Our newest publications—the journal PARIS LA 16: “The Fashion and Writing Issue” and the artist’s book …my life in the sunshine—Liz Craft 2006–2017—will be available, as well as our back catalogue and a selection of out-of-print titles.

For art and fashion lovers: In 2013 the artist Max Hooper Schneider created a silk scarf edition with P.P.M. Studio, Milan. We are offering the edition for purchase, as well as his last available original artwork from this series—dense, hand-drawn graphic lines recalling imaginative worlds and biologies—which will be part of a forthcoming book published by DoPe Press in September 2019.

In addition, we have invited some friends and family from Paris to share their publications and journals: Paraguay Press, MAY, and Profane.


Opening night, April 11, from 6 pm to 9 pm.

Friday, April 12, from 1 pm to 7 pm.

Saturday, April 13, from 11 am to 7 pm.

Sunday, April 14, from 11 am to 6 pm.

Geffen Contemporary at MOCA

152 North Central Avenue, downtown Los Angeles.

From top: Cassi Namoda, Love and compromise between a clock and hyena, 2018, from “Selected Paintings,” PARIS LA 16; Liz Craft, …my life in the sunshine–Liz Craft 2006-2017 page layout; image from PARIS LA 16, drawing of Lotta Volkova by Cédric Rivrain, 2018; image from PARIS LA 14, photograph of Elizabeth Schmitt Jennerjahn and Robert Rauschenberg at Black Mountain College by Hazel Larsen Archer; image from Alex Hubbard, Eat Your Friends (DoPe Press, 2015); Max Hooper Schneider, silk scarf edition for P.P.M. Studio, 2013, photograph by Nuage Lepage, 2019; image from PARIS LA 14, Juliana Huxtable, Sympathy for the Martyr, 2015; image from Oscar Tuazon, Live (DoPe Press and Buchhandlung Walther König, 2014); cover image, Pentti Monkkonen, Box Truck Paintings (DoPe Press, 2014); PARIS LA 16 inside covers, Michèle Lamy, photograph by Katerina Jebb, 2018.


The new print issue of PARIS LA—a tenth-anniversary special devoted to fashion and writing—is now available.

PARIS LA 16 includes interviews with Hilton Als, Chris KrausInes Kaag and Desiree Heiss of BlessTisa BryantFlorence MüllerMalik Gaines, Q.M. ZhangCommes des Garçons’ Adrian Joffe, Anelise Chen, and Bice Curiger and Jacqueline Burckhardt of Parkett.

Massimiliano Mocchia di Coggiola contributed an essay with artwork on dandyism, Ramon Hungerbühler and Fabian Marti talk about skate brands, there are pieces on Setsuko Klossowska de Rola, and Pierre Davis and No Sesso, Anne Dressen has written about contemporary jewelry…

… and portfolios and portraits by Cédric Rivrain, Cassi Namoda, David Benjamin Sherry, Wyatt KahnTobias Madison, Item IdemJean-François Lepage, Todd ColeMarie Angeletti, Will Benedict, and Katerina Jebb—who created the Michèle Lamy cover and a poster of Marisa Berenson—grace the issue.

Also: a reprint of Iris Marion Young’s landmark essay “Women Recovering Our Clothes.”


PARIS LA 16, published by DoPe Press.

Above: Inside covers, production PDF.

Below: Front and back covers, production PDF.


Jeanne Lanvin par Harcourt © Patrimoine Lanvin (72)

Portrait of Jeanne Lanvin by Harcourt. © Patrimoine Lanvin



Jeanne Lanvin draping a fabric on a model. © Laure Albin Guillot / Roger-Viollet


A few weeks ago during Paris fashion week, the Palais Galliera in close collaboration with Alber Elbaz (artistic director of Lanvin) opened an historical exhibition dedicated to the work of Jeanne Lanvin.

Contemporary of Coco Chanel, Elsa Schiaparelli, and Madame Vionnet, Jeanne Lanvin began her career around 1885 when she first established her own milinery business on rue du Marché-Saint-Honoré. At this time she mainly created hats, dolls, and dresses for young girls and their mothers. A few years later she moved the store to 22 rue du Feaubourg-Saint-Honoré to finally own the whole building by 1918. She was a diligent and creative entrepreneur. Today Maison Lanvin headquarters remains in this prestigious location and can claim to be the oldest fashion house still active in business.

The exhibition focuses on the different facets of the Lanvin legacy, and follows a chronological order through the rooms of the neo-renaissance building. In the salon d’honneur stands the illustrated life of Madame Lanvin with photographic portraits, personal wardrobe, and a focus on the logo’s history designed by Paul Iribe and originally taken from a photograph of Jeanne Lanvin and her cherished daughter Maguerite. Her passion for the blue color is à l’honneur. We learn that the Blue Lanvin was inspired by her cult for Fra Angelico and Gothic stained-glass windows. She was such a visionary designer that she even founded her own dye factory. Over her career she created thousands of precious and beautiful models. The robes de style which were designed in the 1920s to ressemble court dresses of the 18th century in complete opposite of the tubular figure of that time, encountered a massive hit toward her clients. « ‘The name Lanvin for me,’ Christian Dior wrote nostalgically much later, ‘was bound up with the memory of girls in robes de style whom I danced my first foxtrots, Charlestons and shimmies with. At the balls, they were always the most beautifully dressed.’ The robe de style was surely a harbinger of the New Look.» [Ed. Les Modes, February 1912, p. 18.] Jeanne Lanvin was a virtuose of her time who could combine embroidery and fabrics through a specific set of vocabulary : airiness, topstitchings, intertwinings, spirals, and cut. She was a modern and an accomplished business woman who handled to the very last years of her life in 1946, thousand of highly skilled workers to produce hundreds of models every year, all in different kind of departments (fashion, couture, milinery, perfume, etc.

This exhibition is a rich survey on the palpable and quieter traces Jeanne Lanvin left through the history of fashion. A catalogue to accompany the exhibition has been especially published, with an introduction written by Palais Galliera’s director Olivier Saillard.

Excerpt from the introduction:
“[Alber] Elbaz admits that he had never really wanted to know too much about this fashion house which made blue both a banner and a color chart: it can make you too modest. And yet, it is he who has now given it a precise identity. If Chanel invented modernity annexed to media logistics, and
Schiaparelli took art as her spouse, if Grès was the embodiment of technique and Vionnet that of virtuoso cutting, Lanvin was the first to give overall thought to lifestyle. The many different departments that Jeanne Lanvin set up (fashion, haute couture, millinery, children’s clothes, men’s
tailoring, interior decoration, etc.) still act today as the basis for a kind of fashion design that Elbaz thinks of as ‘express’.



Les petites filles modèles (dessin),  1925 © Patrimoine Lanvin (72)

Drawing Maison Lanvin ” Les petites filles modèles “, 1925. © Patrimoine Lanvin


Les petites filles modèles, 1925 © Katerina Jebb (72)

Dress for child ” Les petites filles modèles “, 1925. Organdie embroidered with bows in organdie and lace. Patrimoine Lanvin. © Katerina Jebb, 2014





Colombine, 1924-25 © Katerina Jebb (72)

Robe de style “Colombine”, winter 1924-1925. Ivory silk taffeta, black silk velvet appliqués, large, flat beads embroidered with gold thread, red silk velvet bow. Collection Palais Galliera. © Katerina Jebb, 2014


Alcmène, 1929 © Katerina Jebb (72)

Evening ensemble “Alcmène” (jacket, dress and slip), 1929. Pink silk crêpe, embroidered with Swarovski crystals and silvered tubes. Collection Palais Galliera. © Katerina Jebb, 2014





Manteau, 1937 © Katerina Jebb (72)

Evening coat, 1937. Black taffeta, embroidered with layers of gilded sequins. Patrimoine Lanvin. © Katerina Jebb, 2014


La Cavallini, 1925 © Katerina Jebb (72)

Evening gown “La Cavallini”, 1925. Black taffeta, bow embroidered in silver threads, beads, Swarovski crystals and fine pearls. Patrimoine Lanvin. © Katerina Jebb, 2014





Vogue, 1924 © Katerina Jebb (72)

Summer shirt “Vogue”, 1924. Silk velvet, embroidery of tubes, round mirrors and crystals Swarovski. Collection Palais Galliera © Katerina Jebb, 2014





La Diva, 1935-36 © Katerina Jebb (72)

Evening gown ” La Diva “, winter 1935-1936. Midnight blue velvet silk, embroidery of superimposed silvery metallic glitter. Collection Palais Galliera © Katerina Jebb, 2014


Marguerite de la nuit, 1929 © Katerina Jebb (72)

Summer dress “Marguerite de la nuit”, 1929. Silk tulle, satin silk flower topstitched, embroidery of glitter. Collection Palais Galliera © Katerina Jebb, 2014


Scintillante, 1939 © Katerina Jebb (72)

Summer dress “Scintillante”, 1939. Tulle, teases embroidery of glitter. Collection Palais Galliera © Katerina Jebb, 2014





Lesbos (dessin), 1925 © Patrimoine Lanvin (72)

Drawing Maison Lanvin « Lesbos & Claire de lune », 1925. © Patrimoine Lanvin


Lesbos, 1925 © Katerina Jebb (72)

Dress “Lesbos”, 1925. Absinthe green silk satin, embroidered with glass beads and silvered tubes. Patrimoine Lanvin. © Katerina Jebb, 2014



Exhibition running through August, 23rd, 2015
Palais Galliera
Mus.e de la Mode de la Ville de Paris
10, av. Pierre Ier de Serbie 75116 Paris
+33 (0)1 56 52 86 00