“The idea was that I would go and photograph my girlfriend and just create something intimate and personal.” Kate & Mario circa 1993 “ There wasn’t really a specific concept,” says Sorrenti. And so they did, without hair and makeup or any other people around. Seeing that spark of passion and longing conveyed in the photos, Klein tasked the photographer to hole up on a remote island in the Virgin Islands with Moss for a week and take pictures of her for the then soon-to-launch fragrance. As Sorrenti tells it, the campaign came to be as a result of designer Calvin Klein seeing images Sorrenti had taken of his then-girlfriend, 18-year-old Moss, on holiday.  The deeply personal story behind the campaign-that of Sorrenti and Moss’s love story is perhaps just as iconic as the images themselves. “If one thing summed up Calvin Klein for us visually, it was Mario Sorrenti’s Obsession campaign with Kate Moss.”  “I suppose you could say we were obsessed by Obsession,” says Simons. Reinventions of the classic, citrus and white lavender contrast with musk to give sensuous warmth to the women’s scent, while notes of black pepper, cardamom, patchouli, and vanilla deliver a captivating, spiced aroma for the men’s. Twenty-five years later, the images still resonate today, so much so that the recently installed chief creative officer for Calvin Klein, Raf Simons, decided to revisit never-before-seen outtakes from the original campaign to launch the new fragrances, Obsessed for Women and Obsessed for Men.

Mario sorrenti kate moss calvin klein

An excellent copy of what is perhaps the best-loved and most distinguished illustrated children's book of the 20th century, one that the American Institute of Graphic Arts called 'the perfect book.' Inscribed by Sendak to Pulitzer Prize-winning poet and translator Richard Howard (1929-2022) and his then partner, author and playwright Sanford Friedman (1928-2010). In the correct dustjacket, without the Caldecott Medal sticker on the front panel, priced $3.50 at upper front flap, with lower corner clipped by the publisher, next to a 40-80 / 1163 code modest wear, sunning, and dust-soil to spine and panels, shallow loss to spine ends, with two closed tears to lower panels closest to the spine, another to upper front joint, and a few small, faint splash marks to lower half of spine (most evident on verso) an unrestored, Very Good example.   Inscribed by Sendak on the upper half-title page, surrounding a small drawing of Max: 'Jan.9, 63 / For Richard + Sandy / with much affection! Maurice Sendak.' Gentle sunning to upper and lower board edges, light wear to spine ends and lower board edges, with minute exposure to one lower corners, and a shallow (1/2 cm) indentation to cloth at lower front joint contents fresh, with the binding sound Near Fine. Oblong quarto (25.5cm x 23.75cm) pictorial paper-covered boards and grey cloth backstrip pictorial endpapers dustjacket pp illus. An amazing artifact from what is one of the most popular and influential children's book of the 20th Century.įirst Edition. Further, we have only been able to locate one other known copy of page proof for *Where the Wild Things Are* in the Maurice Sendak Collection at the Rosenbach Museum, and it too lacks the LOC number on the title page. While there is no jacket present to verify the issue points, as typical for a first edition of the book, the title page is conspicuously missing its Library of Congress identification number suggesting it was printed prior to securing one as required for publication. It comes from the personal archives of a distinguished children's book author and editor who worked closely with both Sendak and the book's editor, Ursula Nordstrom. The proof is printed on both sides and retains its original bright and vibrant colors. A production page proof for Maurice Sendak's classic children's book, *Where the Wild Things Are*. Some light wear at edges and a few light scattered creases, near fine.

Hotel du lac author