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As far as my priorities are concerned, paying for, say, a downpayment for my own flat would rank way above buying a couture dress or coat, but I have always loved couture techniques and the fantasies spun from them. The happy bridge between my interest and reality comes in the form of beautifully-photographed fashion books, and I am always on the look-out for a good one - something's that's more than just pictures of pretty dresses, or a catalogue.

I like the ones that share the couturier's inspiration and influences, and frame the creations in a context. In other words, it's as close as a guided tour of the archives as I can get.

It doesn't even have to be by a designer I love. I'm a passing admirer of Kenzo and don't know much about his work, but the book by Antonio Marras released last year was brilliant - it felt alive, and immersed me into the world of Kenzo and it's a gorgeous, enriching read.

I couldn't go to "Balenciaga and Spain", so "Balenciaga and Spain" came to me. Sort of. I ordered this book as part of my birthday cache (yeah we're STILL talking about my birthday) and I wasn't disappointed. I've always been interested in Balenciaga (past and present) and I've long been curious about Balenciaga's Spanish roots (all that Infanta gowns), and this just wraps it all up for me. Plus, Hamish Bowles! Love his elegant writing, and his enthusiasm and breadth of knowledge of couture is to be treasured.

I also ordered something to add to my collection of Irving Penn books - "Still Life". Being introduced to his work was the greatest gift US Vogue gave me.

And I have been lusting after "Lee Friedlander: Photographs Frederick Law Olmsted Landscapes - after I read this feature in The New York Times. Lee Friedlander's work has always fed my romanticised view of America (my first book was "America by Car") but the parks in this series was a dreamscape on a whole new level. I can look at all these pictures for hours.

It was a very indulgent order but like the Peter Lindbergh book I bought earlier this year, I feel that these images represent an aesthetic that's being replaced, and I want to hold on to some of them. There's a rawness to them even though they're done with a perfectionist's eye. When I read fashion magazines these days, I rarely relate to the hyper-stylised, hyper-saturated images. I'm not asking for photography to all look this way (even Peter Lindbergh moved on, his new work looks very different), but I wish I saw such styles more.

(Next on my list: Annie Leibovitz's "American Music", maybe something by Stieglitz, and Koto Bolofo's "La Maison").

By the way, I've been drowning in work - it's the Presidential Elections in Singapore, so lots of activity to cover. Nothing like the General Elections though...the President of Singapore doesn't have much executive powers. Nonetheless, there hasn't been much time to blog, but that should change soon!