Drawing on Style 2017

D R AW I N G ON STYLE 2017

D R AW I N G O N S T Y L E 2017 Kenneth Paul Block • Bil Donovan • Jason Brooks

Gray M.C.A, Cheryl Hazan Gallery 35 N Moore Street, Tribeca, New York, NY 10013 5 September 2017 Private Viewing 6 – 10 September 2017 11.00am – 7.00pm

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Introduction...

Drawing on Style 2017 draws the eye to three very different artists and illustrators of fashion. Each have their own unique language in their interpretation of their subject, yet each abides by Diana Vreeland’s key observation that ‘the eye has to travel’. Communicating fashion through illustration is an international language that must capture the attention, persuade, fascinate and interpret the line of beauty. It is a visual response to a look and the model and woman who wears it, whether it be through attitude and gesture, fluidity and romance, bold dramatic lines, or perhaps a combination of all three.

Kenneth Paul Block’s incisive yet graceful line influenced over half a century of style and made him an essential figure in the communication of American fashion in the latter half of the 20th century. His illustrations not only moved with the times but often led the times. American designers were influenced by Block, vividly aware of his critical appraisal once his pen and eye had interpreted their collections in the fashion bible Woman’s Wear Daily, for whom Block was chief features artist. His power to influence was legendary. Each line he drew was swift to the point of hurried, yet no other 20th century illustrator could charge an artwork with such dynamic energy as Block. He challenged perceptions of line and beauty in the creation of his drawings but this only made him more desirable to the adoring fashion crowd that followed his every stroke.

American contemporary Bill Donovan time and again shows his unique talent in capturing the essence of a fleeting moment of spirit of a personality in a minimum amount of time and detail. His brush strokes, gestures and understanding for the delicacy or indeed boldness of colour is pure instinct. His talent to translate today’s runway collections into a beautiful artwork is his greatest gift to the fashion designers with whom he collaborates. Since 2009, he has held the prestigious role of Artist in Residence for Dior Beauty, which underlines the respect in which he is held by the fashion house that epitomises pure elegance & beauty.

...Introduction Often Donovan leaves out more than he puts in and it is in this gift that his genius lies. To have the depth of knowledge to not over work any piece takes bravery and creative understanding and puts him firmly at the front of fashion illustration today.

British artist and illustrator Jason Brooks’ work is both dramatic and bold with his use of silhouette and line to create intentionally high impact visuals that immediately connect with the viewer. His artwork is instantly recognisable and has taken him worldwide for illustrative projects with numerous luxury brands. His unique strength lies in the communication of a look that can be enormously detailed in its execution, yet arrestingly graphic in its final finished presentation. Each artwork is an expression of a certain mood that channels a direct message in an entirely contemporary atmosphere. He is also recognised as being a pioneer of digital fashion illustration and remains at the forefront of utilising both digital and more traditional media to create his art. Brooks is the master of visual simplicity in a world where often less is most certainly more.

As this year’s show demonstrates, the beauty of fashion illustration is in the breadth of interpretation and the visual response that it demands from the viewer. It is an art form that is the very analysis of beauty. Its spontaneity, its simplicity, its energy captures the essence of fashion for its generation. Each artist has achieved a vast following through their own interpretation, yet one invisible and elegant thread links each of these three illustrators – the serpentine line of beauty – which, throughout history, has fascinated the attention of the viewer and allows fashion illustration in the hands of these three masters to stand out as a fashion statement in its own right.

Connie Gray – Exhibition Curator September 2017

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Kenneth Paul Block (1924 – 2009)

Born in Larchmont, New York in 1924, Block was to become the most influential American fashion illustrator of the late 20th century. In the words of designer Isaac Mizrahi “more than any single designer, he gave New York fashion its sophistication”.

Drawn from an early age to the elegant world of fashion through his mother’s copies of Harper’s Bazaar & his aunt’s conversations about her editorial role at Harper’s in the 1930s, Block enrolled at the Parson’s School of Design to study fashion art, graduating in 1945. His first employer was McCall’s Patterns. A restrictive working atmosphere but one that allowed him to perfect his understanding of the craft of ‘building’ an outfit. From here he joined the legendary fashion trade paper, published by Fairchild Publications, Women’s Wear Daily. His confidence grew and by the early 1960s the flair and fluidity of his drawings blossomed.

As fashion changed direction from the structured elegance of the 1950s, Block kept abreast and to a large degree began to influence the very designers’ work that he sketched.

Throughout his career, the early 20th century masters of fashion illustration continually inspired

him. In particular Carl Oscar ‘Eric’ Erickson, who revolutionized fashion illustration by bringing realism into the previously static art of fashion interpretation in the 20s & 30s. Like Erickson, Block had the instinct to always remain contemporary, drawing with charcoal, Japanese brush, felt tip markers and later gouache, which vividly caught the bright colors of the 70s & 80s. His signature KPB was inspired by another illustrator hero from his youth, René BouetWillaumez who, in pre-Raphaelite style, signed his work RBW. Block drew inspiration from across the arts and greatly admired the Abstract Expressionist movement of the 1950s, he responded to the freedom and creativity of Modern Art and regularly applied it in his own work.

developed he looked less & less at the specific detail of an outfit and more at the attitude and gesture of the woman wearing them.

“Gesture is everything in fashion. It is in the way we stand, sit, walk and lie, it is in the bone”. He equally responded to the lithe angular postures and movements of the male figure. This allowed him to use his male co-workers as models including the artist Stephen Cervantes and celebrated fashion photographer Steven Meisel, who at the time was also an illustrator for WWD. As chief features artist for WWD, he regularly covered the Paris shows. So sophisticated was his talent that when unable to attend he would produce dynamic and accurate drawings from the descriptions telephoned through to him.

The importance of gesture and posture was crucial to Block.

Elegance and poise emphasized in ballet and choreography fascinated him. Each drawing he produced was incisive, daring and elegant.

He relied on women rather than young models to pose for his commissions, feeling that the clothes sat more elegantly on a mature woman. As he said himself “I was never only interested in the clothes, I was more interested in the women in the clothes”. As his style

Gloria Guinness, Gloria Vanderbilt, Lauren Bacall, Jackie Kennedy and Catherine Deneuve were amongst the society beauties who sat for Block. To be sketched by the expert hand of Block was an honour few would ignore if the opportunity arose. In 1972, following the increasing popularity of WWD and largely due to Blocks vivid portrayal of fashion & society, Fairchild Publications launched the highly acclaimed new magazine W. Reportage of the celebrity fashion

Kenneth Paul Block (1924 – 2009)

culture was born with Block at the forefront, leading the way with his unique take on fashion and the beautiful people who graced its pages.

Such was Block’s influence and importance in depicting the elegance of couture that when Diana Vreeland was appointed Special Consultant to the Metropolitan Museum of Art’s Costume Institute, she looked to him to create original artwork for the exhibition advertising of Cristóbal Balenciaga & American Women of Style. Vreeland championed Block throughout their long association, appreciating his natural understanding of the world of “glamorous women in beautiful clothes” like no other artist or photographer of the period.

By the late 1980s Block’s work was universally recognized, admired & sought after, yet in 1992 Fairchild Publications fired the entire staff of artists including their star artist Kenneth Paul Block. Illustration was considered no longer relevant in the age of fashion photography.

Nevertheless, Block continued to flourish, working with The New York Times, Bergdorf Goodman, Lord & Taylor and Bonwit Teller to name but a few, all of whom

understood the power of an outstanding editorial fashion drawing or advertising work by the master of fashion illustration. In addition, fashion designers continued to rely on his portrayal of their latest collections. Ralph Lauren, Marc Jacobs, Bill Blass, Oscar de la Renta, Halston, Carolina Herrera, Calvin Klein, Isaac Mizrahi, Dior, Givenchy and Yves St Laurent each looked to him for artistic relevance in documenting their designs.

From the 1940s until his death in 2009, Block shared his life with Morton Ribyat, a talented artist and fabric designer. Morton continually motivated Block to explore new avenues & techniques.

They were known as an immensely elegant couple who were true gentlemen, travelling the world in style.

In 1999, a major retrospective of Blocks work was held at the Museum of American Illustration, New York. His work is held in a number of important archives including The Francis Neady Collection of Fashion Illustration, New York and the Museum of Fine Arts, Boston, who hold a large archive of work donated by Block himself just prior to his death in 2009. In 2016, the

MFA celebrated Block’s work in the highly-acclaimed exhibition ‘Kenneth Paul Block Illustrations’.

The Kenneth Paul Block Foundation was established in 2016 and holds the most extensive archive of Block’s artwork. It is dedicated to preserving and furthering the appreciation, recognition and legacy of Kenneth Paul Block and his work worldwide through museum projects, gallery shows, lectures & education.

The poise and elegance of Block’s work together with the attitude, gesture, proportion and dynamic use of color of his later work underlines his unique position as a 20th Century Master of Fashion Illustration. His interpretation of the fashion world that surrounded him is as important today as it ever was. Block stands tall as an illustrator to whom contemporary illustrators continually look to for creative inspiration and a deeper understanding of gesture, posture and elegance that was his very hallmark.

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Kenneth Paul Block (1924 – 2009) Patricia Underwood Beret for Perry Ellis, Gouache on Paper, 11.25 x 8.25 in

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Kenneth Paul Block (1924 – 2009) Josie Natori Slip Dress, Model Tara Shannon, Felt Tip & Wash on Paper, signed, 21.5 x 17.5 in

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Kenneth Paul Block (1924 – 2009) Pucci 1990, Mixed Media on Paper, signed, 23.5 x 17.75 in

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Kenneth Paul Block (1924 – 2009) Evening Couture 1990, Mixed Media on Paper, signed, 23.5 x 17.75 in

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Kenneth Paul Block (1924 – 2009) Bill Blass Fashion I, Model Dianne DeWitt, Mixed Media on Paper, 24 x 18 in

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Kenneth Paul Block (1924 – 2009) Bill Blass Fashion II, Model Dianne DeWitt, Mixed Media on Paper, 24 x 18 in

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Kenneth Paul Block (1924 – 2009) Bill Blass Fashion III, Model Dianne DeWitt, Mixed Media on Paper, 24 x 18 in

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Kenneth Paul Block (1924 – 2009) Coat Dress, Mixed Media on Paper, 24 x 18.5 in

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Kenneth Paul Block (1924 – 2009) Summer Sportswear 1981, Mixed Media on Paper, 12.25 x 18.75 in

10 Kenneth Paul Block (1924 – 2009) Evening Wear For W Magazine, Felt Tip on Paper, 12.5 x 20.5 in

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11 Kenneth Paul Block (1924 – 2009) Donna Karen 1990, Model Jill Goodacre, Felt Tip & Gouache on Paper, 24.75 x 18.5 in

12 Kenneth Paul Block (1924 – 2009) Fendi Fur 1983, Felt Tip & Gouache on Paper, 16 x 12.5 in

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13 Kenneth Paul Block (1924 – 2009) YSL Study For Fashion Savages by John Fairchild 1965, India Ink on Paper, 19 x 25 in

14 Kenneth Paul Block (1924 – 2009) American Sportswear 1980, Felt Tip on Paper Laid on Board, 17 x 17.75 in

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15 Kenneth Paul Block (1924 – 2009) Accessories Sketch, Model Steven Meisel, Felt Tip & Wax Crayon on Paper, 12.25 x 9.75 in

16 Kenneth Paul Block (1924 – 2009) Beauty Story for W Magazine, Pen & Wax Crayon on Paper, 16.75 x 11 in

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17 Kenneth Paul Block (1924 – 2009) Evening Gowns, Oscar de la Renta & Calvin Klein Collection 1984, Felt Tip on Paper, 17 x 14 in

18 Kenneth Paul Block (1924 – 2009) American Fashion, Felt Tip & Wax Crayon on Paper, 19.75 x 17.75 in

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19 Kenneth Paul Block (1924 – 2009) Norma Kamali Swimwear 1985, Felt Tip on Paper, 24 x 19 in

20 Kenneth Paul Block (1924 – 2009) Jeffery Beene Fashion, Felt Tip on Paper, 13.5 x 10.75 in

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21 Kenneth Paul Block (1924 – 2009) Runway, Felt Tip on Paper, 23 x 16.5 in

22 Kenneth Paul Block (1924 – 2009) Anne Klein Smoking Jacket & Dressing Gowns 1982, Model Dianne DeWitt & Karen Bjornson, Felt Tip & Wash on Paper, 17.75 x 16 in

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23 Kenneth Paul Block (1924 – 2009) YSL Russian Collection, Paris 1976, Model Pat Cleveland, Felt Tip on Paper, 16.5 x 13.5 in

24 Kenneth Paul Block (1924 – 2009) Fur Cardigan 1980, Felt Tip & Pastel on Paper, 10 x 12.75 in

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25 Kenneth Paul Block (1924 – 2009) Bill Blass Evening Dress 1987, Felt Tip & Collage on Board, 16.75 x 12 in

26 Kenneth Paul Block (1924 – 2009) Arnold Scassi For Bonwit Teller 1965, Felt Tip on Paper, 24 x 17 in

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27 Kenneth Paul Block (1924 – 2009) Untitled, Felt Tip & Gouache on Paper, 18 x 17 in

28 Kenneth Paul Block (1924 – 2009) Runway II, Felt Tip on Paper, 23.75 x 18.5 in

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29 Kenneth Paul Block (1924 – 2009) Gloria Guinness 1968, Watercolour & Felt Tip on Paper, 24 x 18.5 in

30 Kenneth Paul Block (1924 – 2009) Beauty Story, Mixed Media on Paper, 21 x 18 in

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Bil Donovan (1953 – )

Donovan is considered to be America’s most important Contemporary fashion illustrator.

As an artist, author, educator and advocate, Bil Donovan is a true champion of the art form. Schooled in the finest traditions of fine art drawing, he works with swift fluid lines that capture the essence of elegance, proportion and gesture.

The sense of spontaneity that he has uniquely mastered lends itself beautifully to fashion interpretation today.

Illustration fascinated Donovan from an early age and he spent many hours copying the comic cartoons of Dale Messick’s famous comic book heroine Brenda Starr.

This lead to enrolling in a Color and Design Class in Philadelphia, followed by a bachelor’s degree in Fine Art at the School of Visual Arts, New York. His skills developed swiftly as he moved to the Fashion Institute of Technology, New York to major in Fashion Illustration.

Following graduation from FIT, Donovan fulfilled a lifetime dream and headed for Milan, spending 6 years illustrating for numerous clients, including Marie Claire and Italian Vogue. On his return to the US, Donovan developed as a painter in his own right and was invited to teach at FIT. An important commission from Harper Collins followed and in 2008 he was selected to exhibit his fashion illustration in ‘The Line of Fashion’ exhibition at the Society of

Illustrators, New York. In 2009 he was appointed the first Artist in Residence for Christian Dior Beauty, creating promotional illustrations and consulting on product launches. Donovan explains “I am respectful of my position and attempt to promote and honor the brand of Dior through the spirit and vision of the brand. Dior’s legacy is legendary and there is a history of fashion illustration through the extraordinary work of René Gruau, so I am very proud, and humbled to have a small role in perpetuating that legacy.”

His unique style has led to the establishment of lasting relationships with all the leading names in the advertising, beauty, editorial & fashion world that includes Neiman Marcus, Vogue, Harper’s Bazaar, St Regis Hotels, Kim Crawford Vineyards, Saks, WWD, New York Magazine, The New York Times, Elle, Luxure Magazine, InStyle and L’Occitane.

In short, Donovan has become the ‘go-to’ artist for sophistication, luxury and glamour.

He serves on the Executive Board of The Society of Illustrators, (where he also holds regular live sketch nights), chairs the Advisory Board for the Frances Neady Collection of Fashion Illustration & is a Professor of Illustration at both The Fashion Institute of Technology & The School of Visual Arts, New York where he teaches a course strictly for fashion

illustration. In addition, Donovan also continues to facilitate panels, lectures and workshops with other prominent artists to promote the art of fashion illustration.

In 2016, Donovan was commissioned by Vogue and the Metropolitan Museum of Fine Art to illustrate a series of fashion illustrations of iconic designs for the exhibition Masterworks : Unpacking Fashion. A special edition book is now held in the permanent collection of the Costume Library at the Metropolitan Museum. He is also the author of Advanced Fashion Drawing / Lifestyle Illustration and has illustrated a number of books including The Dress Doctor, from the original by costume designer Edith Head and Birds of a Feather Shop Together, a collection of fashion fables, both for Harper Collins and more recently The Pursuit of Style for the Council of Fashion Designers of America.

Donovan has an instinctive eye that allows his art to transform a look into the most contemporary image.

A subscriber to the idea that less is more results in his images being the very epitome of sophistication and contemporary style. From first glance the subtle beauty of his work moves the viewer and transports them into a world of elegance, style and harmony. It is little wonder that Bill Donovan has won the respect and admiration of two parallel universes - the world of Art & the world of Fashion.

31 Bil Donovan (1953 – ) Ralph Rucci Couture Spring 2015, Ink & Gouache on Paper, signed, 14 x 20 in

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32 Bil Donovan (1953 – ) Venus & Junon, Dior Couture, Manus x Machina Metropolitan Museum 2016, Mixed Media on Paper signed, 14.25 x 11in

33 Bil Donovan (1953 – ) Manus x Machina Metropolitan Museum 2016, Mixed Media on Paper, signed, 11.5 x 14 in

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34 Bil Donovan (1953 – ) Balenciaga 2017, Ink & Gouache on Paper, signed, 15.5 x 13.75 in

35 Bil Donovan (1953 – ) Rosie Assoulin NYFW Spring 2016, Ink & Gouache on Paper, signed, 15.25 x 11 in

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36 Bil Donovan (1953 – ) Dior Flower Girl, Dior Couture Spring 2017, Luxure Magazine, Mixed Media on Paper, signed, 11 x 15 in

37 Bil Donovan (1953 – ) Dior Couture Spring 2017, Luxure Magazine, Ink & Gouache on Paper, 15 x 11 in

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38 Bil Donovan (1953 – ) Alexis Mabille Stripped Couture 2017, Luxure Magazine, Mixed Media on Paper, signed, 15 x 11in

39 Bil Donovan (1953 – ) Victor & Rolf 2017, Luxure Magazine, Mixed Media on Paper, signed, 15 x 11in

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40 Bil Donovan (1953 – ) Giambattista Valli Couture Spring 2017, Luxure Magazine, Ink & Gouache on Paper, signed, 15 x 12.5 in

41 Bil Donovan (1953 – ) Dior II, Luxure Magazine, Mixed Media on Paper, signed, 15 x 11.25 in

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42 Bil Donovan (1953 – ) Kim Crawford Vineyards, Mixed Media on Paper, signed, 15 x 11 in

43 Bil Donovan (1953 – ) Schiaparelli Spring Couture 2017, Luxure Magazine, Mixed Media on Paper, signed, 15.5 x 11 in

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44 Bil Donovan (1953 – ) Line Up Raul Pen? aranda NYFW 2017, Mixed Media on Paper, signed, 14.75 x 19.75 in

45 Bil Donovan (1953 – ) Givenchy 2016 Metropolitan Museum, Ink & Gouache on Paper, signed, 15 x 10.75 in

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Jason Brooks (1969 – )

Jason Brooks is one of today’s leading fashion and lifestyle illustrators. He is credited as being among the first to bring digital technology to the field of fashion illustration, although the foundation of his work still lies in the skills of traditional and academic drawing and painting.

Brooks was born in London in 1969. He began creating pictures at an unusually young age and received his first freelance commissions as an illustrator in his early teens.

He went on to study Graphic Design and Illustration at St Martin’s College of Art, London where he began working regularly for British Vogue after winning the Vogue/Sotheby’s Cecil Beaton Award for Fashion Illustration.

Whilst at St Martin’s, Brooks began travelling widely, drawing and painting colorful travel journals from Central America, Europe and Africa. Travel alongside fashion has continued to be a recurrent theme in his work. This has lead in recent years to the publication of a

series of illustrated travel sketchbooks focusing on Paris, London and most recently, New York Sketchbook, published by Laurence King in 2017. London Sketchbook won the Book Illustration Award for 2016 from London’s Victoria & Albert Museum which also holds an impressive collection of Brooks’ work in its permanent prints & drawings archive. His work is included in numerous publications including 100 Years of Fashion Illustration (Laurence King), Fashion Illustration Now (Thames & Hudson), Stylishly Drawn (Harry Abrams Inc.) and on the front cover of New Icons of Fashion Illustration (Laurence King).

Since graduating with a Master of Arts degree from the Royal College of Art, London, the glamorous and aspirational world of the imagination that Brooks presents in his work has attracted collaborations with a wide range of luxury and lifestyle brands including Chanel, Lancôme, Mercedes Benz, Virgin Atlantic, Veuve Clicquot, Ritz Hotels and Lucasfilm. He has been invited to

draw live at fashion shows, including the Paris Couture and London and New York Fashion Weeks for publications and companies including Visionaire, Revlon, Elle and The Independent newspaper. He famously provided the visual identity for the record label Hedkandi, which achieved sales in excess of 6 million albums featuring his distinctive artwork.

Each year Brooks completes a range of commissions and collaborative projects with clients worldwide. He thrives on the experience of working with individuals, art directors and companies who share his creative vision and desire to create beautiful images with commercial applications. Alongside these projects, his original drawings, paintings and prints are held in private collections around the world. Brooks leads the way in high impact visuals that fuse the best of original fashion drawing with the latest advances in digital technology. This exhibition marks the first significant collection of Jason Brooks artwork to be presented in a gallery context.

46 Jason Brooks (1969 – ) Dancers 2017, Ink & Coloured Pencil on Paper, signed, 30 x 22 in

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47 Jason Brooks (1969 – ) Dior 2017, Archival Giclee Limited Edition Print, Edition of 10, signed, 23.5 x 33 in

48 Jason Brooks (1969 – ) St Laurent 2017, Ink, Acrylic & Coloured Pencil on Paper, signed, 16.5 x 23 in

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49 Jason Brooks (1969 – ) Yves St Laurent Jacket 2017, Archival Giclee Limited Edition Print, Edition of 10, signed, 23.5 x 33 in

50 Jason Brooks (1969 – ) Parade, Artwork Installation of 21 C-Type Fujiflex High Gloss Archival Monoprints, signed verso, 8.2 x 11.5 in (each)

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51 Jason Brooks (1969 – ) Prada 2017, Archival Giclee Monoprint, signed, 16.5 x 23

52 Jason Brooks (1969 – ) Fendi 2017, Archival Giclee Limited Edition Print, Edition of 10, signed, 16.5 x 23 in

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53 Jason Brooks (1969 – ) Calvin Klein by Raf Simons 2017, Archival Giclee Monoprint, signed, 23.5 x 33 in

54 Jason Brooks (1969 – ) Calvin Klein by Raf Simons II, Archival Giclee Monoprint, signed, 23.5 x 33 in

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55 Jason Brooks (1969 – ) Louis Vuitton 2017, Archival Giclee Monoprint, signed, 23.5 x 33 in

56 Jason Brooks (1969 – ) Chanel Boots 2017, Archival Giclee Monoprint, signed, 23.5 x 33 in

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A NOTE ON FASHION ILLUSTRATION AS WORKS OF ART Fashion illustrations are works of art expressly executed for publication. Sometimes drawn live in just a few moments, instinctive in their portrayal of a look as it glides down a runway.

At other times the artist is working to a brief with several studies before the final finished piece is submitted to the commissioning editor. As works of art for publication they are captioned & marked up for printing. Alongside printing notes are often the artist’s own notes. In publication, none of these elements are seen. If publishing or artistic notes are visible in the framed artwork this only adds historical importance & relevance.

Original fashion illustrations are entirely unique, spontaneous and vibrant drawings of Fine Art.

ACKNOWLEDGMENTS: The Kenneth Paul Block Foundation • www.kpbfoundation.org Michael Bertowitz Drawing Fashion, The Art of Kenneth Paul Block by Susan Mulcahy Cheryl Hazan Gallery Photography by Bert VanderVeen USA +1 336 253 5052 Richard Sainsbury UK +44 (0)1823 272828 Press & PR Purple PR New York

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