中文簡介：
Peter Lindbergh 和攝影師兼時裝設(shè)計師 Azzedine Alaïa
因?qū)谏臒釔鄱叩搅艘黄穑麄冊阢y色印花和純色服裝中也同樣培養(yǎng)了這種熱愛。林德伯格不斷地轉(zhuǎn)向黑白，以表明他對他所揭露的面孔的真實性的追求。 Alaïa
借鑒永恒服裝的單色，為身體創(chuàng)造了名副其實的雕塑。
在這本書中，兩位藝術(shù)家之間犭蟲特的對話被記錄下來。其圖像展示了他們的精神共同體，是對他們藝術(shù)合作伙伴關(guān)系的慶祝，并證明了他們在攝影和時尚領(lǐng)域創(chuàng)造歷史的成就。
盡管林德伯格和阿拉亞的出身不同，但他們追求相似的視野。林德伯格因在《斯特恩》雜誌上的工作而在德國聲名鵲起，并于 978
年在巴黎設(shè)立了自己的工作室，與此同時，Alaïa 是一位謹(jǐn)慎謹(jǐn)慎的女裝設(shè)計師，其復(fù)雜的技術(shù)是高及時裝蕞重要客戶中的一個珍貴秘密。
阿萊亞（Alaïa）成為身體的建筑師，不斷揭示和揭開身體的面紗，而林德伯格（Lindbergh）則通過照亮他們的靈魂和個性來區(qū)分他們。他們一步步成為主導(dǎo)各自學(xué)科的創(chuàng)造者。兩人都拒絕任何分散他們真正主題的詭計，他們很輕松地走到一起進(jìn)行了許多強(qiáng)有力的合作。
共同的靈感和審美價值觀在他們的作品中隨處可見。勒圖凱的海灘和老巴黎的街道體現(xiàn)了對黑白電影和廣闊全景的共同熱愛。發(fā)動機(jī)室的背景展示了一個人對德國工業(yè)景觀的記憶，并提到了另一個人對功能設(shè)計和建筑的過度熱情。
Alaïa 的服裝成為了穿著它們的女性的微笑和眼睛的基座：Nadja Auermann、Mariacarla Boscono、Naomi
Campbell、Anna Cleveland、Dilone、Lucy Dixon、Vanessa Duve、Helene Fischer、Pia
Frithiof、Jade Jagger、Maria Johnson、Milla Jovovich、Lynne Koester、Ariane
Koizumi、Yasmin Le Bon、Madonna、克里斯汀·麥克梅納米、塔賈娜·帕蒂茲、琳達(dá)·斯皮林斯、蒂娜·特納、瑪麗-
索菲·威爾遜、林賽·威克森。對于因這些炒模形象而聲名狼藉的林德伯格來說，她們特質(zhì)的真實性才是蕞重要的。結(jié)果是一個有力的黑白目錄，回響著真實和美麗。
巴黎現(xiàn)代藝術(shù)博物館館長 Fabrice Hergott、攝影師 Paolo Roversi 以及時尚歷史學(xué)家兼巴黎 Azzedine Alaïa 基金會館長
Olivier Saillard 共同參與創(chuàng)作。
原文簡介：
Peter Lindbergh and Azzedine Alaïa, the photographer and the couturier,
were\nunited by their love of black, a love that they would cultivate alike
in\nsilver print and solid color garments. Lindbergh ceaselessly turned to
black\nand white to signify his search for authenticity in the faces he
brought to\nlight. Alaïa drew on the monochrome of timeless clothes to create
veritable\nsculptures for the body. \n \nIn this book, the unique dialogue
between the two artists is immortalized in\nprint. Illustrating their
community of spirit, its images are a celebration of\ntheir artistic
partnership and testament to their history-making achievements\nin photography
and fashion. \n \nDespite their geographically opposed origins, Lindbergh and
Alaïa pursued\nsimilar horizons. At the same time as Lindbergh’s reputation in
Germany was\ngrowing thanks to his work in Stern magazine, and he set up his
studio in\nParis in 978, Alaïa was the couturier shrouded in discretion
whose\nsophisticated techniques were a treasured secret amongst the most
important\nclients of Haute Couture. \n \nAlaïa became the architect of
bodies, revealing and unveiling them, while\nLindbergh distinguished them by
shining a light on their soul and personality.\nStep by step, they became the
creators that dominated their respective\ndisciplines. Both rejected any
artifice that distracted from their true\nsubject, and it is with great ease
that they came together for a number of\npowerful collaborations. \n \nShared
inspirations and aesthetic values are visible throughout their work. A\nbeach
in Le Touquet and the streets of old Paris reference a mutual love of\nblack
and white cinema and vast panoramas. The backdrop of an engine
room\nillustrates the memory of an industrial German landscape for one
and\nreferences the inordinate passion for functional design and architecture
held\nby the other. Alaïa’s clothes act as pedestals for the smiles and eyes
of the\nwomen who wear them: Nadja Auermann, Mariacarla Boscono, Naomi
Campbell, Anna\nCleveland, Dilone, Lucy Dixon, Vanessa Duve, Helene Fischer,
Pia Frithiof,\nJade Jagger, Maria Johnson, Milla Jovovich, Lynne Koester,
Ariane Koizumi,\nYasmin Le Bon, Madonna, Kristen McMenamy, Tatjana Patitz,
Linda Spierings,\nTina Turner, Marie-Sophie Wilson, Lindsey Wixson. For
Lindbergh, who built his\nnotoriety on the images of these supermodels, the
authenticity of their traits\nis all that matters. The result is a potent
black and white catalogue that\nreverberates with truthfulness and beauty. \n
\nWith contritutions by Fabrice Hergott, director of the Musée d’Art Moderne
de\nla Ville de Paris, Paolo Roversi, photographer, and Olivier Saillard,
fashion\nhistorian and director of the Fondation Azzedine Alaïa, Paris.\n\n
