1 2 0 2 0 Fashion Illustration : The Visionaires A Century of Illustrations from the F R A N C E S N E A DY CO L L E C T I O N
Cover Artwork
Tobie Giddio Chanel for Amica, 2003, Ink & Colored Pantone Collage on Paper 13.5" x 20.75"
1 2 0 2 0 Fashion Illustration : The Visionaires A Century of Illustrations from the F R A N C E S N E A DY CO L L E C T I O N
Society of Illustrators 128 E 63rd Street . New York . NY 10065
7 January - 7 March 2020
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Fashion Illustration: The Visionaries A Century of Illustrations from the Frances Neady Collection
“Life informs art and art, at its best, transforms life.” Rosemary Torre
Fashion Illustration: The Visionaries, A Century of Illustrations from the Frances Neady Collection is a magnificent showcase documenting the history, process and evolution of fashion illustration from the twentieth to the twenty-first century. It is comprised of works from the Frances Neady Collection of Original Fashion Illustration which is held by the Special Collections of the Fashion Institute of Technology (FIT) in New York City. In 1983, Rosemary Torre, my former illustration professor at FIT, asked me as an alumnus and as a working illustrator to write a letter of support in order to secure a grant to establish a collection of fashion illustrations entitled the Frances Neady Collection, (FNC). In 1984, Torre and her colleague Fred Bennet secured this grant and in November of that year, the Frances Neady Collection had its inaugural exhibition in the lobby of the Shirley Goodman Resource Center at FIT. Approximately forty-five pieces formed the seed of the collection; today, it numbers more than 400 pieces. The Collection is a homage and personal testament to the memory of Frances Neady. An inspiring and dedicated teacher of fashion illustration, who served on the faculties of FIT and the Parsons School of Design for fifty years. Housed at the FIT Library unit of Special Collections and College Archives, it is preserved, maintained and made available for study by students, faculty and independent researchers.
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Rosemary Torre and Fred Bennett formed a committee whose members included such renowned illustrators as Alvin Pimsler, Morton Kaish, and Richard Ely. Richard Martin, a celebrated fashion scholar and curator at the Museum of FIT (and later a curator at The Costume Institute at the Metropolitan Museum of Art) was also a committee member. The committee determined criteria for accessioning work; they looked for illustrators who met high standards of draftsmanship and aesthetic quality, and demonstrated originality and technical virtuosity. These included illustrators who worked for top-flight department stores, magazines and corporations, earning the admiration of their peers. In 2009, I had the opportunity to be better acquainted with the collection while researching artwork for Advanced Fashion Drawing, a textbook I was writing. I connected with the newly appointed Director of Special Collections, Karen Trivette, who shared my passion and enthusiasm about the collection and we became fast friends. Through my new association with the Frances Neady Collection, I began to gain a more thorough knowledge of the artwork and artists such as: Antonio Lopez’s astounding series of Amelia Earhart, from its initial pencil stage drawings to the finished rendering of a goddess on a swing; Harvey Boyd’s colorful whirlwind of line and pattern for Valentino and the operatic and deft line quality of Barbara Pearlman’s seated woman.
In 2014, I was invited by Torre, the chairperson of FNC to become an advisory board member with the goal to bring energy and ideas to the board. With the blessings of the committee and Karen Trivette, I enlisted people I knew and respected: Stephanie Pesakoff, founder of the Art Department Illustration Division, Anelle Miller, Director of The Society of Illustrators, Connie and Ashley Gray, Founders of Gallery Gray M.C.A, and my friend and colleague, illustrator Carlos Aponte. The goal was to promote the collection with the aim of reaching a wider audience. Later that year, this newly formed committee chose to celebrate the 30th anniversary of the collection with an Exhibition titled: Fashionable Art, which displayed thirty images from the collection at the library at FIT with great success. In 2017, Torre asked me to take over the reins of the Frances Neady Collection as Chair; I was honored and humbled, and in 2018 I became Chairperson with the idea to continue the stated mission and to grow and enhance the collection through the acquisitions of contemporary artists. The FNC is an exquisite treasure trove of some of the most beautiful work and iconic gems from the legends of the world of fashion illustration. The collection has expanded from its humble beginning of forty-five pieces to more than four hundred works of art that exemplifies the standards embraced by the committee. In November of 2018, Anelle Miller presented us with an opportunity to host an exhibition of the collection at The Society of Illustrators. We were elated and agreed on the
idea of presenting 100 years of the Frances Neady Collection entitled Fashion Illustration: The Visionaries, A Century of Illustrations from the Frances Neady Collection. This exhibition is epic in scope with sixty-three images from the past to the present from Carl (Eric) Erickson’s 1928 portrait of the Comtesse de Munoz to David Downton’s 2003 portrait of fashion icon Carmen Dell’Orefice. We discovered some gems that, to our knowledge, have never been shown before: René Bouché’s intimate 1944 ink drawing, Tatiana et Alex; Gene Lloyd’s illuminated and quirky 1958 work depicting a woman in fur coat and conical hat which he executed for Harper’s Bazaar, and Mia Carpenter’s haunting and detailed watercolor from 1964, Two Girls in Velvet Dresses, Shakespeare Theater. Twenty-eight new works acquired for this exhibit are now part of the permanent collection. René Gruau’s Printemps and Joe Eula’s Martha Graham accompany such artists’ work as Rosie McGuinness’ Sitting, Green Trousers, Cecilia Carlstedt’s Gucci and Richard Haines’ Hardcore Pacifist. This work juggles the line between fine art and illustration, with a foothold in the virtuosity and draftsmanship of their predecessors and a step into the future. Life informs art and, at its best, art informs life, especially through a collection that gives us a glimpse into our past and provides a hint of our future with work that embodies grace, spirit, style, and passion. Bil Donovan Chairperson Frances Neady Collection 2020
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1920 - 1930s
Carl Erickson Jazz Club Scene, 1927, Wash & Watercolor on Paper, signed 10.75" x 8.5"
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1920 - 1930s
Maud DeForest Bogart Three figures in Evening Gowns, 1929, Wash & Inks on Paper, signed 17” x 14.25”
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1920 - 1930s
Carl Erickson Comtesse de Munoz, 1928, Wash & Ink on Paper 16" x 12.5"
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1920 - 1930s
Carl Erickson Outdoor Dining, 1930s, Wash & Watercolor on Paper 10.25” x 10.75”
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1940 - 1950s
Christian Bérard Head with Lipstick, Vogue Cover, 1940s, Gouache on Toned Paper, signed 18.25” x 12.25”
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1940 - 1950s
René Bouché Tatiana et Alex, 1944, Ink on Paper, signed 19.5" x 13" Donated by Alexander Lieberman
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1940 - 1950s
Esta Nesbitt Woman in Bouffant Skirt, 1950’s, Charcoal, Pastel, Ink & Gouache on Paper, signed 25.5” x 19.5”
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1940 - 1950s
Carl Erickson Evening Dress, 1950s, Watercolor on Paper, signed 19” x 14.5”
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1940 - 1950s
Todd Draz Large Feathered Hat, 1950’s, Charcoal on Paper, signed 23” x 20.5”
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1940 - 1950s
Dorothy Hood Print Dress for Lord and Taylor, 1950s, Brush, Ink & Wash on Paper 16” x 10”
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1940 - 1950s
Erica Perl Woman Seated in Blue Dress with Dots, 1950’s, Watercolor, Ink & Pen on Paper 14” x 13”
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1940 - 1950s
René Gruau La Parisienne, Advertising Printemps, 1950’s, Ink & Gouache on Paper, signed 14” x 17” Donated by Gray M.C.A
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1940 - 1950s
Gene Lloyd Woman in Fur, Harper's Bazaar, 1958, Gouache on Paper 20” x 9.5” Donated by C.J. Herrick
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1960 - 1970s
Morton Kaish Woman Applying Lipstick, 1960s, Charcoal & Acrylic on Paper, signed 13” x 17”
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1960 - 1970s
Mia Carpenter Two Girls in Green Velvet Dresses, 1964, Gouache on Board 14.75” x 12.5”
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1960 - 1970s
René Bouché Green Coat with Yellow Scarf, 1960’s, Watercolor on Paper, signed 25" x 19"
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1960 - 1970s
Dora Mathieu Woman in Lace Dress, 1960’s, Ink on Paper 17.5” x 21”
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1960 - 1970s
Barbara Pearlman Untitled, 1970’s, Charcoal on Vellum Paper 23.5” x 18.5”
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1960 - 1970s
Fred Greenhill Woman in Long Plaid Skirt, 1970’s, Gouache on Paper 20” x 8”
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1960 - 1970s
Glenn Tunstull California Pacesetters, Women’s Wear Daily, Full Page Editorial 1974/1975, Charcoal Pencil, Pastel & White Gouache on Canson Charcoal Paper 11.5" x 14.5"
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1960 - 1970s
Antonio Amelia Earhart Series, Bloomingdales Advertising, 1978, Graphite & Ink on Paper, signed 17.75” x 17”
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1960 - 1970s
Antonio Female Figure with Hat and Borzoi Dog, Walter Albini, 1975, Marker Pen & Pastel on Paper, signed 27.5” x 19.5”
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1960 - 1970s
Catherine Clayton Purnell Mermaids in Swimsuits, Women’s Wear Daily, 1970s, Watercolor on Board 28” x 16.5”
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1960 - 1970s
Harvey Boyd Valentino, Vogue Italia, 1977, Pastel on Paper, signed 19” x 21”
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1960 - 1970s
Alvin Pimsler Reclining Man in Tuxedo, 1970s, Gouache & Charcoal on Board, signed 24.75” x 19”
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1960 - 1970s
Henry Koehler Annette Read, Town & Country, 1970’s, Pencil & Wash on Paper, signed 17.75” x 24” Donated by Gray M.C.A
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1960 - 1970s
Bob Parker Woman Seated Wearing Polka Dot Top & Pants, 1970’s, Charcoal, Marker Pen & Wash on Paper 21” x 18”
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1960 - 1970s
Rosemary Torre Lisette, 1970s, Ink & Gouache on Paper, signed 18” x 24”
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1960 - 1970s
Joe Eula Martha Graham, 1970’s, Marker Pen on Paper 8.5” x 14”
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1960 - 1970s
Albert Elia Stylized Figure in Black Gown with Large Polka Dots, 1970’s, Gouache & Collage on Board 11” x 8.5”
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1980 - 1990s
Robert Passantino Norma Kamali Swimsuit, Women’s Wear Daily, 1981, Fine Rapidograph Pen, Black Acrylic Ink & Collage on Vellum Paper 17.75” x 15”
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1980 - 1990s
Jim Howard Saks Fifth Avenue, 1983, Charcoal, Wash & Pastel on Paper, signed 20”x 30”
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1980 - 1990s
Esther Larson Woman in Suit with Fur Boa & Hat, Bergdorf Goodman, 1980s, Marker Pen & Wash on Paper, signed 26” x 16”
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1980 - 1990s
Kenneth Paul Block Seated Figure in Short Jacket and Dirndl Skirt, Anglo Fabrics 1980s, Charcoal and Wash on Toned Paper, signed 25.25” x 19”
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1980 - 1990s
Mats Gustafson Large Orange Coat, 1981, Pastel on Paper, signed 16” x 13”
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1980 - 1990s
Steven Stipelman Back View of Orange Haired Woman, 1983, Acrylic & Gouache on Colored Paper, signed 18” x 24”
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1980 - 1990s
George Stavrinos Girl with Fans, Barneys, 1981, Graphite on Paper, signed 19.5” x 15.75”
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1980 - 1990s
Pedro Barrios Woman with Chain Necklaces Jewelry, Women’s Wear Daily, c1980, Gouache on Paper 16” x 20”
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1980 - 1990s
Harvey Boyd Green & Black Suit with Striped Gauntlets, 1982, Marker Pen & Collage including Color Film Strip on Paper, signed 24" x 18"
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1980 - 1990s
Gladys Perint Palmer Christian Dior John Galliano, Kobe Fashion Museum Exhibition Poster 1999, Watercolor & Ink on Paper, signed 35”x 23 1/8”
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1980 - 1990s
Judy Francis Lingerie Spread, Good Housekeeping, 1991, Watercolor, Ink, & Colored Pencil on Paper, signed 14” x 17”
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1980 - 1990s
Ruben Toledo Rich Poor, Paper Magazine / Vivienne Westward, 1998, Gouache & Watercolor on Paper 19” x 15.5”
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2000 - 2020
Mats Gustafson Tiffany & Co, 2004, Watercolor on Paper 15” x 11”
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2000 - 2020
David Downton Carmen, Front Cover Telegraph Magazine, 2003, Mixed Medium on Acetate Laid on Paper, signed 11.75� x 16�
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2000 - 2020
Sara Singh Helena, 2003, Pen, Ink & Photoshop on High Resolution Matte White Giclée Paper 8” x 11” Exhibited: Solo Show at Pin-up Gallery Soho 2003
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2000 - 2020
Autumn Whitehurst Sugar and Skin, 2007, Digital Print on Moab Proofing Semi Matte White Paper 22� x 15
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2000 - 2020
Tobie Giddio CFDA Marc Jacobs, 2008, Transparency Film & Ink on Paper 10.25” x 13”
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2000 - 2020
Tobie Giddio CFDA Proenza Schoulur, 2008, Transparency Film & Ink on Paper 10.25” x 13”
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2000 - 2020
Rosie McGuinness Sitting, Green Trousers, 2019, Archival Giclée Print, Pen, Ink & Photoshop 16.5” x 11.75”
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2000 - 2020
Bil Donovan Stéphane Rolland Haute Couture Spring 2019, Luxure Magazine 2019, High Resolution Giclée Print on Hahnemühle Matte Fine Art Paper, signed 17” x 22”
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2000 - 2020
Richard Haines Hardcore Pacifist, 2017, Charcoal & Pastel on Paper, signed 11.169� x 13.745�
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2000 - 2020
Richard Haines White Gown, 2016, Charcoal & Pastel on Paper, signed 11.169” x 13.745”
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2000 - 2020
Stina Persson Redhead, 2017, Ink, Watercolor & Acrylics on Paper 15.75” x 18.9”
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2000 - 2020
Izak Zenou Le Manteau, 2012, Sepia Ink on Paper, signed 14” x 17”
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2000 - 2020
Jordi Labanda Cabana Complex, May 2017, Gouache & Digital Print on High Resolution Matte White Giclée Paper 20” x 10.31”
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2000 - 2020
Damien Cuypers Yellow Eyes, The New York Times T Magazine, 2019, Crayon on Paper 5.63” x 8.57”
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2000 - 2020
Daniel Egneus JW Anderson Fashion Collection, London Fashion Week 2019 for Nick Knight/SHOWStudio February 2019, Crayon, Watercolor on Yellow Paper, signed 11.69” x 16.53”
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2000 - 2020
Hiroshi Tanebe Yves Saint Laurent, L’Officiel, 2016, Digital, Photoshop & Illustrator on Paper 17.125” x 14”
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2000 - 2020
Cecilia Carlstedt Gucci, 2017, Ink, Acrylic, Spray Paint & Collage on Paper, signed 18” x 13”
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2000 - 2020
Tina Berning Artists Diary : 2.21.16, Historical Interpretation of Traditional Costumes from ‘Schaumburger Land’, Rural Germany, 2016, Ink & Watercolor on Found Paper 16.5” x 11.69”
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2000 - 2020
Jason Brooks Sun Hat Chic, 2019, Digital Artwork on Archival Giclée Paper, signed Edition of 25 23.4” x 33.1”
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2000 - 2020
Carlos Aponte Runway, 2017, Tape on Board 15” x 20”
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Carlos Aponte
Tina Berning
René Bouché
(1960 - ) Puerto Rican
(1969 - ) German
(1905 - 1963) American
Carlos Aponte’s work is graphic and bold, with a compelling, minimalistic approach to capturing a moment in time. Whether expressed in line or tape, his confident vision emerges through his unique graphic sensibility. Once a student of Antonio Lopez, Aponte followed his own vision and became a storyteller, universally recognized by such clients as The New Yorker, Coca Cola, The New York Times, CFDA, Esquire and Visionaire. He has also written and illustrated books, including ‘Across the Bay’ and ‘A Season to Bee’.
Tina Berning is a renowned artist based in Berlin. She focuses on figurative drawings of women, yet her work moves seamlessly between fashion illustration and fine art, in a distinctive style recognized worldwide. Berning’s creative vision has been featured in The New York Times as well as in paintings exhibited in Europe, Japan and Canada.
René Bouché is synonymous with Vogue, where his work graced the covers and pages for over four decades. A prolific and diverse artist in all styles, from fine art to illustration, Bouché created work that is based on a strong concept of draftsmanship and painting. Whether it is a line drawing of Jackie Kennedy for CBS or Schiaparelli couture for Vogue, Bouché, like his contemporary Eric, raised the standard of fashion illustration to a new level of art.
Kenneth Paul Block (1924 - 2009) American
Pedro Barrios’ line defined a moment in fashion illustration. He combined a strong graphic sensibility with a minimalistic sensibility that reflected Aubrey Beardsley’s linear work. Ultimately, his approach was original and timeless, whether he was creating editorials at Women’s Wear Daily, advertisements for Bloomingdale’s or for fashion designer Norma Kamali.
Kenneth Paul Block reigned as a renowned fashion illustrator from 1950 to 2008. His simple, confident and spirited strokes created a heightened sense of grace and elegance in portraits of swans such as Jackie Kennedy and Babe Paley and style horses like the Duchess of Windsor. His work seems effortless, his fluid yet confident gestures in charcoal or ink captured the world of fashion through an intuitive perspective of glamour, chic and style for Women’s Wear Daily, Bergdorf Goodman and Lord & Taylor.
Christian Bérard
Maud DeForest Bogart
(1902 - 1949) French
(1868 - 1940) American
Christian Bérard’s illustrations evoke the essence of Paris and fashion in the 1930s. Known as Bébé, the artist was an influential presence in the creative bohemia that was Paris in the 30s. In addition to his fashion illustrations, he collaborated with Jean Cocteau and Serge Lifar on films and theater (his first love). Trained as a painter, Bébé studied at the prestigious Lycée Janson de Sailly in Paris and with Édouard Vuillard at the Académie Ranson. The influence of Vuillard and the advent of Surrealism is evident in his work for theater and his many Vogue covers. Bérard’s significance in the history of the art of Paris in the 1930s and 1940s is well established as are his contributions to the world of fashion illustration.
Defloret Bogart’s Art Deco illustration from 1929 is as elusive as the artist who created it. The piece was donated anonymously and although not certain it is most likely to be the work of Humphrey Bogart’s mother Maud DeForest Bogart who worked as art director and illustrator from the 1890s – 1920 for the fashion magazine Dilenator. Three women draped in gowns occupy the foreground of a room framed by a window looking out to an evening sky. The gowns are meticulously rendered and two of the women are engaged in conversation while a new guest arrives wearing gloves and clutching a purse. She looks directly at the viewer, bringing us into her narrative whilst in the background a seated figure engages with a man dressed in a tuxedo, perhaps the butler or a guest. It is a work that defines an Art Deco sensibility and recalls the tight rendering of fashion plates, the forerunner to fashion illustration.
Pedro Barrios (1947 - ) Cuban
Harvey Boyd (1942 - 1994) American Harvey Boyd was one of the first African American fashion illustrators to make a mark in the world of illustration. A master draftsman, he was adept at communicating high fashion in line or graphics; his work ran in the pages of Vogue Italia and celebrated fashion’s masters including Yves St. Laurent and Valentino. Boyd was a visionary who saw the future and shared his graceful ideals with us.
Jason Brooks
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(1969 - ) British Jason Brooks’ work evokes a glamorous world of luxury and style. His women are beautiful, alluring and full of personality. Recognized as a pioneer of digital fashion illustration, Brooks’ unique vision has led to collaborations with brands including Chanel, Tiffany & Co., Cartier and Lucasfilm. He studied at the Royal College of Art and Central Saint Martin’s in London and his accolades include the Vogue Sotheby’s Cecil Beaton Award for Fashion Illustration.
Cecilia Carlstedt
Bil Donovan
Todd Draz
(1977 - ) Swedish
(1953 - ) American
(1917 - 2002) American
Carlsdtedt has been working as a fulltime illustrator since graduating from London College of Communication in 2003. She spent several years in London & New York before returning to her hometown of Stockholm. Experimentation is an integral part of her working process which allows her to use a variety of tools and mediums to complete an illustration. Commissions include Vogue Nippon, W Magazine, Elle, Nina Ricci, Jimmy Choo, LMVH, H&M, Refinery 29, Lancôme and Tiffany & Co.
Bil Donovan was appointed the first artist in residence for Christian Dior Beauty in 2009, a position he continues to serve in today. Donovan utilizes an innate sense of selectivity to communicate the essence of glamour, luxury and style in his work. His client list includes The Metropolitan Museum of Art, Vogue, Bergdorf Goodman, St. Regis Hotels, The New York Times, L’Occitane, CFDA, Vanity Fair, Neiman Marcus and Saks Fifth Avenue. He was commissioned to paint the mural in the Christian Dior suite at the St. Regis Hotel and his work is held in the permanent collection of The Metropolitan Museum of Art’s Costume Collection.
Tod Draz’s illustrations graced the editorial pages of American, British and French Vogue, as well as advertisements for Printemps, Paris and Saks Fifth Avenue. Draz entered the scene toward the end of the 1950s, a decade considered the Golden Age of fashion illustration, when revered illustrators such as Eric, René Gruau and René Bouché were the standard bearers of the profession. A talented draftsman, Draz built upon the work of these oldschool masters while bringing a fresh sensibility to the craft. His line quality is distinct, emotional and crisp with an accent on the definitive shapes of fashion narratives and hinting toward the more graphic work of the 1960s. His quick brush work for The New York Times style section from late 1950s into the 1960s showcases a fast and furious method that could be considered a precursor of Joe Eula’s art.
Mia Carpenter (1933 - ) American Mia Carpenter began working in the 1960s in various illustration genres, from books to advertising campaigns. Her beautiful representations of children continue to stand out to audiences today. They are precious period paintings that welcome viewers to enter and experience not only the fashion but the era as well.
Catherine Clayton Purnell ( - ) American Catherine Clayton Purnell’s work graced the pages of Women’s Wear Daily for two decades. She also illustrated many books on clothing, style and fashion. Purnell’s images focused on the intimate details of each garment. Her preferred media were watercolor and colored pencils.
Damien Cuypers (1983 - ) French Damien Cuypers’ medium of choice is crayon, which, in his capable hand can create small, expressive masterpieces. Usually drawn live on the spot, the colors are bold, the line is spirited and the energy is palpable and intense. His images are at once chaotic and defined. Cuypers has an uncanny ability to mix color and, with a few strokes of a crayon, he can beautifully depict the mood and ambiance of any event. His depiction of fashion is fresh and of the moment and his documentation of fashion week is featured in The New York Times T Magazine.
David Downton (1959 - ) British David Downton is one of the leading artists in the world of fashion illustration. His work, reinterprets fashion through a style with roots in traditional linear fashion drawing, yet breaks that mold in a manner that is contemporary. His sweeping lines, nuanced shadows and black painted abstract fields create images that are dynamic, graceful and elegant, a perfect match for Couture. His clients include Chanel, Dior, The New York Times, Vogue, Harper’s Bazaar, and Vanity Fair where he has the envious position of capturing some of the most beautiful and iconic women in the world. His portraits of Catherine Deneuve, Dita Von Teese and Paloma Picasso and more are also visible in his publication of monographs in Portraits of the World’s Most Stylish Women. He continues to paint the illustrious icons of the world at Claridge's in London where he was appointed as the first artist in residence of the legendry hotel in 2011. David Downton’s work is captivating and a visual commentary on the power of fashion illustration to seduce the viewer, a seduction that revived an interest in the genre and continues to seduce us today.
Daniel Egneus (1972 - ) Swedish Daniel Egneus’ work speaks volumes about the power of live drawing to seduce the viewer. Self-taught, his illustrations are vibrant and fluid, evoking a visual dreamscape of texture, line, shape, emotion and movement. He is a master of observation, communicating fashion, environments and narratives through live drawings and a vivid imagination. His work is recognized worldwide by such clients as Marie Claire, HäagenDazs, Pepsi Cola, Playboy and Time Magazine and through his various illustrated books. Albert Elia (1941 - ) American Albert Elia was a fashion illustrator during the heady days of the 1960s and 1970s. He was also a professor at Parsons School of Art and Design, where he taught a fashion illustration class that focused on line and communicating the figure with flair. His abstract ‘Figure with Polka Dots’ references Cubism and Surrealism, using a repetition of circles and lines to breathe life into the flat color shapes that define the figure.
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Carl Erikson
Judy Francis
René Gruau
(1891 - 1958) American
(1947 - ) American
(1909 - 2004) Italian
Carl Erickson, known as Eric, held sway over the world of fashion illustration for over fifty years. His work appeared in Vogue and Harper’s Bazaar during a period when fashion illustration and photography shared space in the magazines. Impeccably dressed with a bowler and walking stick, he captured the world he inhabited, that of high society and the international set. Eric’s discerning eye, communicated through line and wash, invited viewers into the realm of couture and celebrity. Whether illustrating Dior, Chanel or Schiaparelli or luminaries from Queen Elizabeth to Gertrude Stein, Eric captivated our vision while sharing his.
Judy Francis’ work has a delicacy and intricacy of detailing that is a perfect fusion of watercolor, ink and colored pencils. Rendered in a photo realistic style, her figures are created with a distinctive perspective: unlike those in most fashion illustrations, Francis’s women are real. Most are based on Judy being the artist and model. They may resemble beautiful cut-out dolls, but upon closer inspection they are striking, curvaceous, strong capable women and undeniably human. Francis is a champion of fashion illustration and was President of the Society of Illustrators from 2001 to 2004.
René Gruau captured the world of haute couture through timeless narratives of glamour, style and wit that captivated viewers and ushered in a new era of fashion illustration. Beneath the façade of effortless illustration is a solid foundation in art. Line is a staple of Gruau’s work, whether energetic sweeping strokes or delicate and deliberate contours framing the figure. His elegant and spirited women are the perfect representatives of couture and his translations of Schiaparelli, Balenciaga and Lanvin were popular in magazines such as Flair, Vogue and Marie Claire. However, the name most entwined with Gruau’s is Christian Dior, who was his friend and collaborator. As creative director for the House of Dior, Gruau created iconic images that branded Dior and established himself as a creative visionary.
Tobie Giddio (1963 - ) American
Esta Nesbitt (1918 - 1975) American From 1940 to 1960 Esta Nesbitt, known as Esta, was renowned as a successful fashion illustrator creating work for Saks Fifth Avenue, The New York Times Magazine, Harper’s Bazaar and Mademoiselle. Her figures were contemporary, a combination of charcoal, ink, gouache and pastel. Esta shared her talent and her love of media and art as an instructor at Parsons School of Design. As a children’s book illustrator, she explored innovative printing techniques. As an artist she made performance pieces and was one of the earliest to create work using xerography.
Tobie Giddio’s work is an exploration of fine art as a means to abstract the fashion figure. Her meditative artwork evolves through intuitive brush strokes that play against Zen-like layers of transparent, colored paper. It’s a balancing act of static versus chaos, superbly directed by Giddio. Informed by intuition and chance, her work is at once unexpected and beautiful to behold. It has been commissioned by The New Yorker and Interview magazines, as well as by Tiffany & Co., Neiman Marcus, Apple, Bergdorf Goodman and the Council of Fashion Designers of America.
Fred Greenhill (1925 - 2007) American
Joe Eula (1925 - 2004) American Joe Eula began his career in the 1950s covering the Paris fashion shows for The Herald Tribune, Vogue and The New York Times. With a quick fluid line, Eula captured the movement and essence of a collection. In 1970, he became creative director for Halston, where his agile sketches became synonymous with the Halston brand. Eula was a renaissance man. In addition to fashion illustration he designed costumes and sets for films and used his minimalistic line to capture legends of fashion, film, entertainment and dance, from Miles Davis, Marlene Dietrich, Diana Vreeland, Martha Graham to, perhaps most notably, Liza Minelli. 68 | FNC
Fred Greenhill’s effortless illustrations display a confident knowledge and draftsmanship that entertained viewers for more than forty years. From Neiman Marcus to Estee Lauder, Revlon and Lord & Taylor, Greenhill’s world was one of charm and grace, inhabited by sophisticated and extremely elegant women.
Mats Gustafson (1951 - ) Swedish Mats Gustafson is one of the premier illustrators working today. His work presents fashion illustration through the lens of a minimalistic process associated with fine art. Simple and elegant, his forms elicit just enough information to define the essence, mood and shape of a design. Luscious watercolor occupies the space with a meditative selectivity; his work has reached the level of artistry associated with the couture. Gustafson was the first illustrator to have a contract with Vogue Italia and his work rejuvenated the industry. His clients include Christian Dior, Vogue Italia, Vogue Paris, Tiffany & Co. and Hermès.
Richard Haines
Morton Kaish
Esther Larson
(1951 - ) American
(1927 - ) American
( - ) American
Richard Haines is the Bill Cunningham of fashion illustration. After a career as a fashion designer and the crash of 2008, Haines returned to his first love, drawing. Instead of using a camera, Haines sketched on the street, documenting fashion for his blog, ‘What I Saw Today’. His lines are loose, wobbly and animated, communicating the spontaneity of the fleeting moment on the street, at the front rows of fashion shows or in collaborations with Miuccia Prada or Dries van Noten. There is an informed naiveté to his energized strokes which are intuitive and alive, with no regard to exacting a definitive representation. He captures the essence of the moment, bringing us into the frame, a fleeting moment in time akin to visual poetry.
Morton Kaish is a celebrated painter who combined this skill with an exploration of media to create fashion art that was elegant, spirited and unique. Recognized for his command of anatomy and keen draftsmanship, from 1950 to 1980 Kaish’s work filled the pages of Esquire and Harper’s Bazaar magazines and was popularized in advertisements for Lord & Taylor. His paintings are in the permanent collections of The Metropolitan Museum of Art, The Smithsonian American Art Museum and The British Museum.
Larson’s brush and ink illustrations captured the spirit and élan of high fashion for more than thirty years. Her women were chic, stylish and alluring, the type of woman who shopped at Bergdorf Goodman. From Dior to Calvin Klein, Larson captured the style and moment in fashion with a confident brush stroke and detailing that enhanced the look. Aside from Women’s Wear Daily, Vogue, The New York Times, or Harper’s Bazaar, it was Bergdorf Goodman’s who recognized that her women were the definitive Bergdorf woman for thirty years.
Henry Koehler
Gene Lloyd
(1927 - 2018) American
( - ) American
Henry Koehler, a graduate of Yale, is best known for his illustrations of sporting events and a sojourn as a fashion illustrator for The New Yorker and Vogue in the 1950s and 1960s. His illustration of Annette Reed for Town & Country magazine exemplifies the glamour and élan of New York society in the 1960’s. The space is brilliantly designed with a Mondrian-like sensibility of color and arrangement. A blue vertical and beige shadow frame Ms. Reed’s elegant figure. Draped in a red caftan, she creates a vibrant diagonal that slashes the space and balances the rigid lines to make a compelling narrative and a perfect composition.
No information about Gene Lloyd can be found. His striking illustration for Harper’s Bazaar completed in 1958, seems to have its roots in the past and a look at the future. A flat silhouette is framed by a black background with the strange light that defines the figure and gives the image an eerie glow. The pose and positioning hark back to the images on fashion plates of the past and the minimalist detailing of the garment could well be illustrated today.
Dorothy Hood (1902 - 1970) American Dorothy Hood reigned as the It girl of Fashion Illustration at Lord and Taylors for more than thirty years. With a tube of black watercolor and India ink, Hood could conjure up a myriad of textures from satin to fur to leather, prints, or patterns complemented by fluid lines that breathed life and spirit into her illustrations. Her technique became as iconic as her women and her fullpage ads for Lord and Taylor identified what was known as the “Hood Girl”.
Jordi Labanda Jim Howard
(1968 - ) Uruguay
(1931 - ) American
Born in Uruguay and raised in Barcelona, Jordi Labanda creates a world that we want to live in, one of fantasy, style, glamour and joy. His foray into our imaginations began with Wallpaper* magazine in the late 1990s, with his illustrations of sleek modern environments populated by chic supercool characters. Labanda’s work influenced a resurgence in fashion illustration and a new direction in the form that went beyond a single figure on a page to a new “lifestyle” approach that blended fashion, architecture, entertainment and luxury.
From Neiman Marcus to Bonwit Teller, Marshall Fields to Saks Fifth Avenue, Jim Howard’s charcoal pencil made its indelible mark in the world of fashion illustration. Over a thirty-year span his dynamic illustrations showcased a keen sense of draftsmanship and a dramatic use of darks and lights. In Howard’s work, light gives figures an atmospheric glow as if they are on stage. He did not sketch in his figures. Instead, he began each drawing from the top of the head, letting gravity pull his line toward the feet, using a charcoal pencil with pastel and an ink wash to create narratives that highlighted the clothing, models and most of all his talent.
Antonio Lopez (1943 - 1987) Puerto Rican Antonio arrived on the scene in the 1960s, he revolutionized fashion illustration with work that mixed overt sexuality with a pop art sensibility. Antonio’s girls were exuberant; they came alive through line, color, movement and narrative. They quickly replaced the stagnant illustrations of aloof society ladies that once filled fashion pages. Antonio’s life was as glamourous as his art - he seemed almost as likely to discover beauty as to create it. Among the icons he discovered are Jerry Hall, Grace Jones, Tina Chow and Pat Cleveland. From Japan to Paris, from Charles James to Karl Lagerfeld, from Women’s Wear Daily to The New York Times, Vogue and Harper’s Bazaar, Antonio and his creative partner Juan Ramos captured a moment in the world of illustration with a new sensibility of beauty that continues to captivate viewers today. FNC | 69
Dora Mathieu
Robert Passantino
Gladys Perint Palmer
(1909 - 1980) American
(1945 - ) American
(1947 - ) British
Dora Mathieu created editorial artwork for magazines such as Mademoiselle. Her work seems effortless, yet there is a unique flair and deliberation in that ease. Mathieu is most revered for teaching at The School of Visual Arts, The Arts Student League, Parsons School of Design and Pratt Institute, where she influenced and inspired another generation of art and fashion artists.
In 1969, fresh out of school, Robert Passantino landed a job at Women’s Wear Daily, a fast-paced sink-orswim environment that he considered the equivalent of fashion illustration boot camp. The deadlines were tight and the pressure intense. When Passantino began producing work influenced by his former teacher and then colleague, Steven Stipelman, the art director, Rudy Millendorf, pulled him aside. “We already have a Stipleman,” said Millendorf. “We want a Passantino!” For more than 20 years they got their wish. Passantino became an integral part of WWD’s history, churning out modern graphic narratives inhabited by elegant, stylized figures that reflected his vision of beauty, fashion and art. In addition to WWD, Passantino’s clients included Playboy, The New York Times, Vogue and Bloomingdales.
Although she has also worked as a journalist and an educator, perhaps Gladys Perint Palmer’s most memorable contributions to the world of fashion are her whimsical illustrations of the action at the runway shows. This work is eccentric and alive, much like the late, great fashion editor Anna Piaggi, who first commissioned Perint Palmer to breathe life into Vogue Italia in 1994. Perint Palmer continued to contribute to the publication until Piaggi’s death in 2012. Perint Palmer’s clients include Chanel, Dior, Valentino and the Metropolitan Museum of Art.
Rosie McGuinness (1984 - ) British Rosie McGuinness women have a particular point of view, a self confidence evident in the pose, expression and attire. Drawn in pen and ink, McGuinness is an astute director of observation, sculpting the figure through line, texture and shape. Rosie initially pursued fashion design which eventually gave way to her love of life drawing and fashion illustration. The women seem to be elegant modern incarnations of Modigliani’s women, but through the vision of a woman. They are confident and own the picture plane, with grace, presence and beauty – a reflection of their creator, Rosie McGuinness. Her clients include The New York Times, T Magazine, i-D online and Neiman Marcus.
Bob Parker (1927 - ) American Research has turned up no record of Mr. Parker’s history, career or artwork. Perhaps this image is a oneoff or a second-tier advertising illustration, which usually mimicked the style of a recognized store artist. Nonetheless, this illustration of a woman seated is a beautiful work of art. The artist strikes a perfect balance of pattern, repetition and selectively, bringing our gaze back to the graceful figure, who is similar in style and manner of the women of Fred Greenhill.
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Barbara Pearlman ( - ) American Barbara Pearlman’s work celebrates line. This line - which is at once delicate, sensual, expressive and emotional - speaks volumes and is integral to Pearlman’s unique style. Her talent was internationally recognized by Vogue, Marie Claire, Neiman Marcus and most memorably by the textile manufacturer, Galey and Lord. She generously shared her passion through teaching at the Fashion Institute of Technology and Parsons School of Design, where she inspired a multitude of great artists, including Tobie Giddio.
Erica Perl ( - ) American Erica Perl’s crisp and flared line with a perfect wash of color evoked a youthfulness that was ideal for the junior Miss market emerging in the 1950s to the 1970s. Her work during this period appeared in Vogue as well as other magazines.
Stina Persson (1972 - ) Swedish To Stina Persson, perfection is not an ally of her work. She combines a variety of traditional and media skills with a sharp intuition and a capable hand to make work that is bold, vivid and elegant. Her blending of materials is seamless, showcasing images that are beautiful and contemporary. In her exploration of and respect for the medium, she disregards perfection and allows multiple layers of color or ink drips and bleeds to shape her vision. From Nike to Microsoft to Louis Vuitton, from Vogue to Veuve Clicquot, Persson has established herself as an artist who breaks the rules of perfection and in doing so makes work that is (whether she likes it or not) simply perfect.
Alvin Pimsler
George Stavrinos
Hiroshi Tanabe
(1919 - 2014) American
(1948 - 1990) American
(1967 - ) Japanese
Alvin Pimsler’s illustrations of men were crisp and handsome and imbued with a subtle elegance. Yet beneath this easy veneer, the artist’s own experience reflected the horrors of his time: Pimsler was a prisoner of war in World War II. Returning stateside in 1946, he pursued his passion for drawing and art by enrolling in The Art Students League and The National Academy School of Fine Art. His illustrations were the mirror image of himself - handsome, masculine and with a nonchalant attitude towards fashion. He was a guy who could throw a sweater over his shoulder and always have it land perfectly. His unique ability to capture a Mad Men sensibility propelled him to the top of the illustration market with clients such as Saks Fifth Avenue and The New York Times. Pimsler served as President of the Society of Illustrators from 1974 to 1976 and was inducted into its Hall of Fame in 2006.
George Stavrinos was one of the most influential fashion illustrators of the 1970s and 1980s. His skilled draftsmanship, theatrical compositions and heightened Hollywood lighting ushered in a new direction in fashion illustration. Although Stravinos was also an adept artist, painter and photographer, his signature work became hand drawn illustrations that combined Photorealism with Surrealistic themes. His masterpieces were commissioned by The New York Times, Bergdorf Goodman, The New York City Opera and, most memorably, Barneys. His full-page ads filled The New York Times with art that inspired the imagination as well as a new generation of illustrators. His narratives, finite detailing and sharp contrast of darks and lights kept his audience spellbound and earned Stravinos the Society of Illustrators Hall of Fame Award in 2008.
Hiroshi Tanabe’s illustrations combine a traditional Eastern aesthetic with a modern Western sensibility through the lens of graphic design, Pop Art and fashion. The elegant simplicity of his work, with simple graphic shapes and organic lines, is based on his admiration for Japanese wood cuts. His faceless creatures have personality and reflect a world beyond our imagination; one that is striking, vivid and beautiful. Tanabe’s work is recognized worldwide and through his commissions for renowned brands such as Nike and Bergdorf Goodman.
Steven Stipelman Sara Singh (1985 - ) Swedish Sara Singh’s work is a study on meditation of the figure. Her line is fluid, graceful, sensual and lyrical, an approach that stems from her passion for drawing the figure. Her process is to draw multiple sketches, extract the best and then use Photoshop to enhance the image. It’s a perfect blend of traditional and digital skills. Her definitive style has been showcased by such clients as Tiffany & Co, Vogue, The New York Times, Elle, GQ, Givenchy and Neiman Marcus. For Singh, drawing is a personal cocoon, one from which emerges exquisite renditions of fashion, life and the world.
(1944 - ) American For more than 25 years Stephen Stipelman’s ethereal swans floated through the pages of Women’s Wear Daily. His work has a quickness, giving an impression of movement though a spontaneity of brush strokes and washes of acrylic or gouache. His figures are iconic beautiful elongated silhouettes with an aura that captures the imagination. Stipelman’s clients include Vogue, Estée Lauder, Hanes, Henri Bendel, Marshall Field and Lord & Taylor. Today, he shares his passion and knowledge as a professor at The Fashion Institute of Technology and as author of ‘Illustrating Fashion: Concept to Creation’.
Ruben Toledo (1961 - ) Cuban Ruben Toledo’s work transcends fashion illustration, often reaching the level of social commentary. Always entertaining, Toledo presents a unique visual dialogue between fashion, life and humanity, chiefly inhabited by figures that resemble his wife and muse, Isabel. Brilliantly executed in gouache, ink, pencil, acrylic and watercolor, images seem to flow effortlessly from Toledo’s imagination, always with a dash of wit and a nod to Pop Art and Surrealism.
Rosemary Torre (1933 - ) American For more than 25 years, Rosemary Torre inspired and shaped fashion illustration as a professor at The Fashion Institute of Technology. A student of Frances Neady, she perpetuated the ideas of integrity and the S-curve method of drawing fashion. In earlier work for Saks Fifth Avenue, Franklin Simon and Revlon, she used this method with clean lines, simple forms and solid anatomical figures. In Torre’s vision, the physical body, with perfect proportions, is always evident through the clothing. Torre continues to inspire the world of fashion illustration as author of ‘The Feminine Ideal’ and as emeritus chair of the Frances Neady collection.
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Glenn Tunstull
Izak Zenou
(1950 - ) American
(1969 - ) French
Glenn Tunstull is a legend. In the 1970s, he broke racial barriers as the first African American to work at Women’s Wear Daily, where he introduced a new and exciting series of illustrations of women of color, painted on toned paper with white gouache and charcoal. It wasn’t long before Tunstull’s work and ability to capture high fashion was featured in the pages of publications such as Vogue Italia and The New York Times and used to promote stylish destinations like Bloomingdales and Henri Bendel’s. Today, he shares his vast knowledge as a professor at Parsons School of Design and is currently exhibiting an ongoing series of oil and watercolor landscape paintings.
Izak Zenou’s work reflects a joie de vivre that is urban, chic and romantic. Known as Izak, the artist is a true storyteller. He has created fashion narratives for high-end brands including Chanel, Estée Lauder and Printemps and publications such as The New York Times, The New Yorker and Madame Figaro. His iconic “IZAK” woman embodies a spirited sophistication and has represented the Henri Bendel brand for twenty years.
Autumn Whitehurst (1973 - ) American Autumn Whitehurst’s dynamic illustrations burst onto the scene in 2002 with stylized images created by combining photography, with the tools of Illustrator and Photoshop. This unique sensibility gave her entrée into the highest echelon of fashion, creating images for publications such as Vogue and The New Yorker as well as for major brands including Target, Victoria Secret and Coca Cola. Her women are vividly portrayed using minimal information, strong graphics and an intuitive color sense. Her early inspirations include Alphonse Mucha’s and Patrick Nagel’s women, yet today this influence is barely discernable; instead of vacant-eyed pretty young things, Whitehurst’s women are powerful, intelligent, witty and sensual. They, like their artist, are unforgettable.
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Acknowledgments It was always the boards dream to have an extensive exhibition of the collection. Special thanks is in order to those who worked tirelessly to make this a reality.
Our advisory board Karen Trivette, Head of Special Collections and College Archives, FIT Library, Fashion Institute of Technology, who from the beginning has shared my love and passion for this work. Thank you, Karen, for your energy, knowledge and support. Anelle Miller, Director of The Society of Illustrators, for sharing invaluable experience, guidance, and insights and making this show possible. Stephanie Pesakoff, Founder of Art Department Illustration Division, for presenting alternative ideas to make us think beyond the expected. Carlos Aponte, Illustrator, co-chair, and co-curator for his succinct eye and knowledge in helping to select images that best represented the criteria and historical trajectory of the collection. Thank you, Carlos, as well for the collaboration on the logo and your beautiful cover design. Connie and Ashley Gray of Gray M.C.A Gallery, two remarkable people who brought a fresh prospective to the selections and the exhibit. Thank you for donating three amazing pieces of art and your support in sponsoring and producing the catalogue. Judy Frances Zankel, Fashion illustrator, former President of the Society of Illustrators for her work on behalf of promoting and supporting the exhibition. April Calahan, Special Collections Associate, fashion historian and author who kept us on track and accommodated our many requests while archiving twenty-eight new acquisitions. Thank you to our friends who wrote, researched and organized for this exhibition. Stefano Umberto, Illustrator, colleague and friend for his energy, research and desire to assist in any manner for this exhibition. Lisa Santandrea, Fashion historian and writer, for her support and assistance in editing the bios. Vanessa Tascarella, for her expediency in organizing all of the master lists and source material. Ken Nintzel, Exhibition Designer, NYHS, and husband, Thank you for your eye, ear, and recommendations. Julie Muszynski, Author, illustrator and designer, for researching the artists and providing invaluable information for the bios. To the Artists and Patrons who donated art to the Frances Neady Collection, we are extremely grateful for your gift that fosters the growth and enrichment of the collection. And last but not least to Rosemary Torre, Chairperson Emeritus of the Frances Neady Collection. Rosemary Torre like Frances Neady shared her love of fashion illustration inspiring a multitude of artists, myself included. As an illustrator, professor, and author Rosemary has been relentless in championing fashion illustration and retaining the integrity and standard of work in the collection. One that perpetuates the beauty and uniqueness of Fashion Illustration and serves as an educational tool that continues to honor the legacy of Frances Neady.
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About FIT Library Special Collections & College Archives Special Collections acquires, preserves, & provides access to a wide range of primary research materials in their original formats & across many languages & geographical spectra. The nearly 3,500 titles housed in Special Collections have been vetted for their rarity or importance in the fields of fashion, textile, costume, & interior design. The collection includes 6,000 linear feet of books, periodicals, oral histories, & designer scrapbooks. The growing collection of 456 unique manuscript collections contains more than 500,000 works on paper, many of which are original designer sketches. The manuscript collections are especially strong in their documentation of American fashion design for women from the late nineteenth century through the 1970s; Broadway & Hollywood costume design; & the history of New York City’s own Seventh Avenue Garment District. www.fitnyc.edu/library/sparc/
About The Society of Illustrators The Society of Illustrators’ mission is to promote the art of illustration, to appreciate its history and evolving nature through exhibitions, lectures and education, and to contribute the service of its members to the welfare of the community at large. www.societyillustrators.org
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