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50 Fashion Designers You Should Know
This accessible and beautifully illustrated book brings together the most important designers who have moved fashion forward over the past century.
Fifty major fashion designers are profiled in this book in fullcolor spreads that showcase their most memorable creations. Red carpet regulars such as Armani, Prada, Calvin Klein, and Dolce & Gabbana are included, as well as the classic clothiers Christian Dior, Karl Lagerfeld, and Oscar de La Renta. While some of these designers have designed for the masses—Ralph Lauren, Donna Karan, Diane von Furstenberg—others prefer the fierce over the Jean-Paul Gaultier, Vivienne Westwood, and Helmut Lang, for instance. Readers will learn how the early twentieth-century designers such as Coco Chanel and André Courrèges made fashion history, and discover who’s making it Stella McCartney, Marc Jacobs, and Tom Ford, to name a few. A celebration of diversity and innovation and an essential handbook to a century of fashion, this exciting and informative look into the world of style will delight readers of every taste and age.
Fifty major fashion designers are profiled in this book in fullcolor spreads that showcase their most memorable creations. Red carpet regulars such as Armani, Prada, Calvin Klein, and Dolce & Gabbana are included, as well as the classic clothiers Christian Dior, Karl Lagerfeld, and Oscar de La Renta. While some of these designers have designed for the masses—Ralph Lauren, Donna Karan, Diane von Furstenberg—others prefer the fierce over the Jean-Paul Gaultier, Vivienne Westwood, and Helmut Lang, for instance. Readers will learn how the early twentieth-century designers such as Coco Chanel and André Courrèges made fashion history, and discover who’s making it Stella McCartney, Marc Jacobs, and Tom Ford, to name a few. A celebration of diversity and innovation and an essential handbook to a century of fashion, this exciting and informative look into the world of style will delight readers of every taste and age.
- GenresFashionNonfictionArt
160 pages, Paperback
First published April 1, 2010
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172 people want to read
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Displaying 1 - 15 of 15 reviews
November 4, 2018
I loved this book and learned so much about fashhion designers and their work!
October 20, 2011
An entertaining and informative round-up of the history of fashion through 50 name designers with some excellent illustrative photography. Really a beginner's course and not claiming to be much more than that but reasonably well produced as you might expect from Prestel.
Our only additional note is an observation on fashion and gender. Of the great names who were born before 1920, the age of aristocratic and aping nouveau riche haute couture, over half were women (Lanvin, Vionnet, Ricci, Chanel and Schiaperelli).
In the generation born in the interwar era, only Mary Quant and the female half of the Missoni knitwear duo stood up against around 14 male names, some of whom were introducing notions of high art into fashion (Issey Miyake springs to mind) but most of whom were engaged in business.
Then, in the generation born in the 1940s, the balance shifts again with a majority of female designers clearly producing clothing that appealed more directly to women's perception of their own needs instead of just social status (Westwood, Kawakubo, Ander, Von Furstenberg, Karan and Prada).
During their period of dominance (late-1970s through to early-1990s), it is interesting that the three flagship male designers offer either an almost camp flamboyance (Mugler and Versace) or a simple model of marketing to taste (Klein).
Then, in the generation born after 1950, gender balance changes again with (excepting the case of Stella McCartney on whom the jury is still out as a 'great') all 13 major figures are, once again, male with a strong orientation back towards fashion as an 'art form'.
There is a mini-social history here of a fluid gender approach to the business being displaced in the wake of war with male dominance, then a counteracting recovery of ground as wealthy women assert their own needs after the 1970s or demand that men do so.
Somewhere in the 1990s, fashion self-consciously becomes conceptualised, a form of high art, perhaps because the needs of most women are adequately covered by the massive expansion of fashion-conscious retailing that is automatically adapting advanced design to women's day-to-day needs.
The flamboyance of the Versace and Mugler era gets ever more sexualised and glamourised by the luxury brand designers and conceptual artists move into the territory following the path laid by Miyake.
Other than 'our' Stella, women appear to have become facinated observers of highly charged males in vicarious peacock mode who are not, in all cases, making money - neither always business nor service, high fashion has become not merely art form and the stretching of boundaries but spectacle.
Naturally each generation overlaps, with Mugler's camp eroticism now underpinning the Lady GaGa phenomenon.
There is a hint of a grand narrative here, not only of female empowerment but of a paradoxical loss of female power within elites in the context of the war for liberation against 'fascism'. The war for democracy appears to have solidified gender roles rather than liberated them.
The rebellion of women in the 1970s represented by clothes made by women for women appears to have ended with another phase where we are all, men and women alike, participants in spectacle and drama, no different from being courtiers observing a prince's masque in the seventeenth century.
This is not to put forward a particularly feminist argument because women have become observers of the spectacle. Their needs are being adequately met by a massive retail fashion industry that interprets design back into practical use.
It is rather an observation about the drive of males (since there is no block to females in this respect) in the creation of spectacle and theatre in politics, entertainment and art.
Clean lines (the classical mentality, male autism if you like) and erotic display (the classic male yearning for desire to be channeled if it cannot be fulfiled) dominate over the pragmatic though, of course, this is not entirely fair to the ability of male designers to meet women's needs.
If you have Chalayan, Slimane, McQueen and Margiela at one side, then there is Jacobs, Ford, Dolce & Gabbana and the remarkable Van Noten on the other - but they are all lads and, where they are gay, that may change their sensibility but not their gender.
In short, we have been living the 'society of the spectacle' for nearly two decades. It will be very interesting to see how high fashion (as art) adapts to the changed conditions of the current economic crisis and whether people will want to continue to watch it from afar.
'Spectacle' is glamour in hard times (Hollywood played this role in the 1930s) but it can also be cause for resentment and even the uber-wealthy may have to start watching their step when it comes to ostentation.
Could there now be a 'peoples' fashion'? Should the revolution be about ensuring that 'all workers can eat at Maxim's'? Or will the rich simply tread more carefully?
Our only additional note is an observation on fashion and gender. Of the great names who were born before 1920, the age of aristocratic and aping nouveau riche haute couture, over half were women (Lanvin, Vionnet, Ricci, Chanel and Schiaperelli).
In the generation born in the interwar era, only Mary Quant and the female half of the Missoni knitwear duo stood up against around 14 male names, some of whom were introducing notions of high art into fashion (Issey Miyake springs to mind) but most of whom were engaged in business.
Then, in the generation born in the 1940s, the balance shifts again with a majority of female designers clearly producing clothing that appealed more directly to women's perception of their own needs instead of just social status (Westwood, Kawakubo, Ander, Von Furstenberg, Karan and Prada).
During their period of dominance (late-1970s through to early-1990s), it is interesting that the three flagship male designers offer either an almost camp flamboyance (Mugler and Versace) or a simple model of marketing to taste (Klein).
Then, in the generation born after 1950, gender balance changes again with (excepting the case of Stella McCartney on whom the jury is still out as a 'great') all 13 major figures are, once again, male with a strong orientation back towards fashion as an 'art form'.
There is a mini-social history here of a fluid gender approach to the business being displaced in the wake of war with male dominance, then a counteracting recovery of ground as wealthy women assert their own needs after the 1970s or demand that men do so.
Somewhere in the 1990s, fashion self-consciously becomes conceptualised, a form of high art, perhaps because the needs of most women are adequately covered by the massive expansion of fashion-conscious retailing that is automatically adapting advanced design to women's day-to-day needs.
The flamboyance of the Versace and Mugler era gets ever more sexualised and glamourised by the luxury brand designers and conceptual artists move into the territory following the path laid by Miyake.
Other than 'our' Stella, women appear to have become facinated observers of highly charged males in vicarious peacock mode who are not, in all cases, making money - neither always business nor service, high fashion has become not merely art form and the stretching of boundaries but spectacle.
Naturally each generation overlaps, with Mugler's camp eroticism now underpinning the Lady GaGa phenomenon.
There is a hint of a grand narrative here, not only of female empowerment but of a paradoxical loss of female power within elites in the context of the war for liberation against 'fascism'. The war for democracy appears to have solidified gender roles rather than liberated them.
The rebellion of women in the 1970s represented by clothes made by women for women appears to have ended with another phase where we are all, men and women alike, participants in spectacle and drama, no different from being courtiers observing a prince's masque in the seventeenth century.
This is not to put forward a particularly feminist argument because women have become observers of the spectacle. Their needs are being adequately met by a massive retail fashion industry that interprets design back into practical use.
It is rather an observation about the drive of males (since there is no block to females in this respect) in the creation of spectacle and theatre in politics, entertainment and art.
Clean lines (the classical mentality, male autism if you like) and erotic display (the classic male yearning for desire to be channeled if it cannot be fulfiled) dominate over the pragmatic though, of course, this is not entirely fair to the ability of male designers to meet women's needs.
If you have Chalayan, Slimane, McQueen and Margiela at one side, then there is Jacobs, Ford, Dolce & Gabbana and the remarkable Van Noten on the other - but they are all lads and, where they are gay, that may change their sensibility but not their gender.
In short, we have been living the 'society of the spectacle' for nearly two decades. It will be very interesting to see how high fashion (as art) adapts to the changed conditions of the current economic crisis and whether people will want to continue to watch it from afar.
'Spectacle' is glamour in hard times (Hollywood played this role in the 1930s) but it can also be cause for resentment and even the uber-wealthy may have to start watching their step when it comes to ostentation.
Could there now be a 'peoples' fashion'? Should the revolution be about ensuring that 'all workers can eat at Maxim's'? Or will the rich simply tread more carefully?
September 7, 2025
Good to know about these names & their work. Its like a quick summary of the bio, their style & achievement. I see the comment for low rating generally criticise the curation of the list & that some names do not deserve to be included. Its quite subjective anyway & in this way also hard to have a list that could satisfied everyone. But definitely a good reference book for someone who have limited knowledge of the industry like me 🙃
May 20, 2020
I just picked up this book every once in awhile. Well done.
April 21, 2024
Rudimentary. Catty to Stella McCartney. Does not even identify some supermodels by name. Ugh.
March 10, 2025
this book is simply AMAZING!
anyone who wants to get into fashion area, this book is perfect. there are a lot of fabulous designers who stayed in history and their respective creations!
anyone who wants to get into fashion area, this book is perfect. there are a lot of fabulous designers who stayed in history and their respective creations!
Read
December 17, 2010Just as the title tells you, this is not a collection of obscure or niche designers, but rather a book profiling the biggest movers and shakers in the fashion industry. More specifically, it is a guide to those who have had the biggest influences, primarily on contemporary western women’s fashion. Spanning from Jeanne Lanvin opening her first hat shop in 1899 to Stella McCartney’s most recent collection, the book features short profiles of the biggest designers who show at the four main fashion weeks (London, Paris, Milan and New York City). While it’s far from being a comprehensive encyclopedia of names, 50 Fashion Designers is excellent as an unintimidating crash course for fashion newbies.
The names included are the more obvious ones: Coco Chanel, Vivienne Westwood and Marc Jacobs are all present. While the focus is on the famous, there is some variety. Both the more commercial designers (Gianni Versace, Calvin Klein) as well as the avant garde (Yohji Yamamoto, Hussein Chalayan) are included. There are also a few designers who had an impact in their time but have since gone a bit under the radar, like Madeleine Vionnet and Main Boucher.
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The profiles themselves are well researched, and though quite brief they hold a fair bit of information. Author Simone Werle includes only the most essential of biographical facts (date of birth, country of origin, etc.), focusing instead on the designers’ technical and professional accomplishments. There are several instances where Werle editorializes, highlighting each designer’s strength in order to emphasize where he or she made an impact, although all the profiles remain heavily steeped in fact. Most of the personal sentiments in this book come from quotes pulled from the designers themselves, stating their own fashion philosophies. It’s intriguing to see the way so many designers differ in their ideals, even those who at first appear to be of similar calibers. Several designers, including Miuccia Prada and Franco Moschino, explicitly state that they hate fashion. Hearing these declarations from people who have devoted their entire professional lives to the creation of clothes made me wonder about the various ways fashion is considered by different people, and how commercialism can affect one’s creative output. Naturally, these were contrasted with profiles of designers who focus more on the business aspects of building a brand, with quotes about how buying one of their designs is akin to buying into a lifestyle.
[image error]
My first thought upon finishing the book was, “where does one go from here?” The brevity of the profiles prevents any real analyses of the designers’ careers. While the book still works as a useful introduction to runway designers, it would have been helpful had the edition included sources, notes for further reading, or even an introduction or conclusion for those looking to dig deeper. Instead, 50 Fashion Designers dives right into its subject matter with little additional content explaining the processes behind its selections. However, even without this, I would definitely recommend the book to anybody looking for a place to start in understanding today’s fashion. Aspiring Wornettes take note.
[image error]
reviewed by Anna Fitzpatrick
The names included are the more obvious ones: Coco Chanel, Vivienne Westwood and Marc Jacobs are all present. While the focus is on the famous, there is some variety. Both the more commercial designers (Gianni Versace, Calvin Klein) as well as the avant garde (Yohji Yamamoto, Hussein Chalayan) are included. There are also a few designers who had an impact in their time but have since gone a bit under the radar, like Madeleine Vionnet and Main Boucher.
[image error]
The profiles themselves are well researched, and though quite brief they hold a fair bit of information. Author Simone Werle includes only the most essential of biographical facts (date of birth, country of origin, etc.), focusing instead on the designers’ technical and professional accomplishments. There are several instances where Werle editorializes, highlighting each designer’s strength in order to emphasize where he or she made an impact, although all the profiles remain heavily steeped in fact. Most of the personal sentiments in this book come from quotes pulled from the designers themselves, stating their own fashion philosophies. It’s intriguing to see the way so many designers differ in their ideals, even those who at first appear to be of similar calibers. Several designers, including Miuccia Prada and Franco Moschino, explicitly state that they hate fashion. Hearing these declarations from people who have devoted their entire professional lives to the creation of clothes made me wonder about the various ways fashion is considered by different people, and how commercialism can affect one’s creative output. Naturally, these were contrasted with profiles of designers who focus more on the business aspects of building a brand, with quotes about how buying one of their designs is akin to buying into a lifestyle.
[image error]
My first thought upon finishing the book was, “where does one go from here?” The brevity of the profiles prevents any real analyses of the designers’ careers. While the book still works as a useful introduction to runway designers, it would have been helpful had the edition included sources, notes for further reading, or even an introduction or conclusion for those looking to dig deeper. Instead, 50 Fashion Designers dives right into its subject matter with little additional content explaining the processes behind its selections. However, even without this, I would definitely recommend the book to anybody looking for a place to start in understanding today’s fashion. Aspiring Wornettes take note.
[image error]
reviewed by Anna Fitzpatrick
November 17, 2011
Jeanne lanvin i love this designer!
January 1867, Paris – 6 July 1946, Paris) was a French fashion designer and the founder of the Lanvin fashion house.
One of the most influential designers of the 1920s and '30s, Jeanne Lanvin's skillful use of intricate trimmings, virtuoso embroideries and beaded decorations in clear, light, floral colors became a Lanvin trademark. When Lanvin died in 1946, ownership of the firm was naturally ceded to the designer's daughter, Marguerite di Pietro.[1]
Madeleine Vionnet(love her greek art designs)(1920's)
believed that "when a woman smiles, then her dress should smile too." Eschewing corsets, padding, stiffening, and anything that distorted the natural curves of a woman's body, her clothes were famous for accentuating the natural female form.
Paul Poiret (like his style)
Though perhaps best known for freeing women from corsets and for his startling inventions including hobble skirts, "harem" pantaloons, and "lampshade" tunics, Poiret's major contribution to fashion was his development of an approach to dressmaking centered on draping, a radical departure from the tailoring and pattern-making of the past.[7] Poiret was influenced by antique and regional dress, and favored clothing cut along straight lines and constructed of rectangles. The structural simplicity of his clothing represented a "pivotal moment in the emergence of modernism" generally, and "effectively established the paradigm of modern fashion, irrevocably changing the direction of costume history.
He also had an infallible instinct for Marketing. He introduce the decorated window display aand gave fashion photography, then still in its fancy, an artistic direction.
Nina Riccitill this day still amazing designer(love it)
The house of Nina Ricci was founded by Maria Ricci in Paris in 1932, later helped by her son Robert. Maria was 49 years old at the time, and after working at Raffin for so many years was itching to design her own creations. Madame Ricci designed gowns while Robert managed the business and finances. She worked with the fabrics directly on the mannequin to ensure they had the right shape once they were finished. Nina Ricci designs soon became known for their refined, romantic, always feminine feeling that Maria imparted to all of her collections.
Gabrielle Bonheur "Coco" Chanel(love her)
(19 August 1883 – 10 January 1971)[1] was a pioneering French fashion designer whose modernist thought, menswear-inspired fashions, and pursuit of expensive simplicity made her an important figure in 20th-century fashion. She was the founder of one of the most famous fashion brands, Chanel. Her extraordinary influence on fashion was such that she was the only person in the couturier field to be named on Time 100: The Most Important People of the Century.[2]
main boucher
Main Bocher decided to merge the first and last name to give birth to his label "Mainbocher." It opens Mainbocher Couture at 21 Avenue George V and presented his first collection in November 1930, economic depression, he thought climate, contrary to all, particularly conducive to an "event". The desire to Mainbocher was to give women the look of "ladies." He created elegant dresses in a style often severe, but embellished with rich embroidery.
January 1867, Paris – 6 July 1946, Paris) was a French fashion designer and the founder of the Lanvin fashion house.
One of the most influential designers of the 1920s and '30s, Jeanne Lanvin's skillful use of intricate trimmings, virtuoso embroideries and beaded decorations in clear, light, floral colors became a Lanvin trademark. When Lanvin died in 1946, ownership of the firm was naturally ceded to the designer's daughter, Marguerite di Pietro.[1]
Madeleine Vionnet(love her greek art designs)(1920's)
believed that "when a woman smiles, then her dress should smile too." Eschewing corsets, padding, stiffening, and anything that distorted the natural curves of a woman's body, her clothes were famous for accentuating the natural female form.
Paul Poiret (like his style)
Though perhaps best known for freeing women from corsets and for his startling inventions including hobble skirts, "harem" pantaloons, and "lampshade" tunics, Poiret's major contribution to fashion was his development of an approach to dressmaking centered on draping, a radical departure from the tailoring and pattern-making of the past.[7] Poiret was influenced by antique and regional dress, and favored clothing cut along straight lines and constructed of rectangles. The structural simplicity of his clothing represented a "pivotal moment in the emergence of modernism" generally, and "effectively established the paradigm of modern fashion, irrevocably changing the direction of costume history.
He also had an infallible instinct for Marketing. He introduce the decorated window display aand gave fashion photography, then still in its fancy, an artistic direction.
Nina Riccitill this day still amazing designer(love it)
The house of Nina Ricci was founded by Maria Ricci in Paris in 1932, later helped by her son Robert. Maria was 49 years old at the time, and after working at Raffin for so many years was itching to design her own creations. Madame Ricci designed gowns while Robert managed the business and finances. She worked with the fabrics directly on the mannequin to ensure they had the right shape once they were finished. Nina Ricci designs soon became known for their refined, romantic, always feminine feeling that Maria imparted to all of her collections.
Gabrielle Bonheur "Coco" Chanel(love her)
(19 August 1883 – 10 January 1971)[1] was a pioneering French fashion designer whose modernist thought, menswear-inspired fashions, and pursuit of expensive simplicity made her an important figure in 20th-century fashion. She was the founder of one of the most famous fashion brands, Chanel. Her extraordinary influence on fashion was such that she was the only person in the couturier field to be named on Time 100: The Most Important People of the Century.[2]
main boucher
Main Bocher decided to merge the first and last name to give birth to his label "Mainbocher." It opens Mainbocher Couture at 21 Avenue George V and presented his first collection in November 1930, economic depression, he thought climate, contrary to all, particularly conducive to an "event". The desire to Mainbocher was to give women the look of "ladies." He created elegant dresses in a style often severe, but embellished with rich embroidery.
This entire review has been hidden because of spoilers.
August 24, 2010
I loved this overview of some of the greatest fashion designers in history. It was so interesting to see how their clothes, fashion houses and personal lives have developed and influenced culture. Highly recommended for any fashion enthusiast.
March 24, 2015
50 important fashion designers at a glance. The information may not be detailed enough but it's a good starting point. Wish that there are more photos and specific captions. Talking about masterpieces of designers, there should at least be a picture of YSL's Mondrian dress.
January 14, 2011
This book is extremely informative and interesting! I especially loved the editorial of Missoni featuring the lovely Kate Moss.
P.S/ My book has 159 pages, not 160.
P.S/ My book has 159 pages, not 160.
September 5, 2014
Really great book for who knows noting about the fashion designers but also for the one, like me, who wants to refresh his/her memory. Great editing and a great choice of designers.
August 15, 2013
Very informative- had to read this to revise for my Textiles Alevel exam and it was pretty boring to read in one go. Good for referencing though.
February 1, 2014
Does just what it says on the cover. A swift canter around the lives of 50 significant designers, with enough photographs to make it a relaxing read & enough text to be a good introduction.
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October 15, 2015
Saffron 2014 gorgeous read
Displaying 1 - 15 of 15 reviews