1900 -1924 p.2
1925 -1949 p.14
1950 -1974 p.28
1975
&beyond p.54
1900
2
1900–1924
when the new century dawned, both fashion illustration and fashion design itself looked backward to the styles of the previous century rather than forward to a vision of the future. Clothing that expressed the opulence of the age, worn by the fashionable aristocratic and wealthy elite of Europe and North America, was informed more by the sinuous aesthetic of the Art Nouveau style, conceived in the 1890s, than by any hint of modernity. The fashionable woman, mature in aspect, was swathed in lace, frills and flounces, accessorized with feather boas and picture hats festooned with bird-of-paradise plumes or flowers, and underpinned by complicated layers of underwear, including the ungainly S-bend corset. Men still adhered to strict codes of dress, regulated by occupation, rank, social occasion and time of day.
“The fashionable woman, mature in aspect, was swathed in lace, frills and flounces...” As always in high society, dress signified status. Lavish expenditure on clothes epitomized the culture of conspicuous consumption associated with the Belle Epoque. Wealthy women patronized the grands couturiers of Paris, such as Callot Soeurs, Doucet, Paquin and Worth. In London they patronized Lucile and bought their tailormades from long-established firms such as Redfern and Creed. Their husbands were dressed by London tailors whose reputation for immaculate cutting in high-quality cloth was unrivaled.
Anonymous, cover of Fashions for All, April 1909. Courtesy The Stapleton Collection. Magazines such as this catered for the home dressmaker. This issue contained six free patterns for garments, including the tailored separates that were the staple of most middle-class women’s wardrobe.
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1900–1924
Paul Iribe, plate from Les Robes de Paul Poiret, 1908. Pochoir print. Courtesy The Stapleton collection. The vibrant colors of Poiret’s Directoire-style gowns are heightened by Iribe’s use of a monochrome background. The deceptively simple layers of the tunic dresses create a tubular silhouette that is complemented by matching bandeaux tied round the head á l’antique.
The less well-off benefited from the enormous advances made in the previous century by the textile and clothing manufacturing industries. Ready-made or semi-made clothing was widely available in the department stores that had sprung up in all major towns and cities since the last quarter of the nineteenth century. Many women employed a dressmaker or made their own clothes: the formulaic and highly detailed fashion illustrations of the time enabled domestic and professional dressmakers to copy the latest designs. Free patterns were included in magazines aimed at this middle market such as Weldon’s Ladies Journal (1879), while Butterick, with branches in London, Paris and New York, had published mail
Javier Gojé, ‘Il a Eté Primé, Gazette du bon ton, March 1914. Pochoir print. CSM archive.
order patterns since 1866. The dissemination of fashionable styles through the numerous magazines and newspapers aimed at consumers gave everyone
A satin evening ensemble consisting of a tunic over a skirt pinned into place with a large cabochon. Gojé was a Spanish artist who worked in Paris from 1900 and was a regular contributor to the Gazette.
the opportunity, if not the means, to engage in the pursuit of fashion. Hand-colored engraved plates were replaced at the end of the nineteenth century by full-color printing and from the early twentieth century, photography began to make an appearance in magazines. It was Paul Poiret, the most exciting and innovative fashion designer of the prewar years, who elevated both fashion and its representation to the status of art and injected them with a dynamism that made them new and significant forces in the twentieth century.
Poiret established his own couture house in 1903, and his career in the prewar years coincided with radical new directions across Europe and beyond. In 1905 Les Fauves exhibited at the Paris Salon d’Automne; in 1907 Picasso’s epoch-making painting Les Demoiselles d’Avignon heralded the advent of Cubism; and the German Expressionists, the Italian Futurists and the Russian Constructivists explored new concepts and ideologies through art.
6
1900–1924
Helen Dryden, Original illustration for cover of American Vogue, 1922. Pen and watercolor. Courtesy The Zahm Collection, Germany. Dryden was one of the main contributers to American Vogue from 1910 until the early 1930s. She also illustrated for some of Nast’s other titles, including Vanity Fair and House and Garden.
“A tubular, more streamlined silhouette, the Directoire style, was developed by many designers.” When Serge Diaghilev’s Ballets Russes, whose 1909 production of Cleopatre featuring exotic sets and costumes by Léon Bakst, exploded on the Parisian stage on an array of dazzling colors and daring nudity, fashion was quick to respond. The pastel shades of the Belle Epoque were set aside in favor of a new palette of brilliant hues overlaid with silver and gold. Poiret’s designs for evening-wear reflected the oriental influence: harem trousers worn under tunics were accessorized with lamé turbans decorated with feathers and jewels. A tubular, more streamlined silhouette, the Directoire style, was developed by many designers; high, boned collars were replaced by low V-necklines; lavishly trimmed picture hats
Enrico Sacchetti, Frontispiece of Robes et femmes, 1912. Pochoir print. Courtesy The Stapleton Collection. Sacchetti, who collaborated with Marinetti, the father of Futurism, on his magazine Poesia, worked as a fashion illustrator in Paris immediately before the war.
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1900–1924
“It was Paul Poiret, the most exciting and innovative fashion designer of the prewar years who elevated both fashion and its representation to the status of art ...”
gave way to simpler styles such as the toque; and fussy frills and furbelows were abandoned. Poiret was a master salesman, but perhaps his greatest gift was an impresario, linking the worlds of fashion and art by bringing the talents of young artists into his enterprise. Raoul Dufy, for example, designed printed textiles for Poiret’s atelier. Recognizing that his radical designs needed a new form of representation, in 1908 Poret commissioned Paul Iribe to illustrate a promotional publication, Les Robes de Paul Poiret. Iribe broke new ground by introducing figures, some in half-profile or even in back view, against sketchy monochrome backgrounds.
Paul Poiret Poiret’s designs for evening-wear reflected the oriental influence: harem trousers worn under tunics were accessorized with lamé turbans decorated with feathers and jewels. Poiret was a master salesman, but perhaps his greatest gift was an impresario, linking the worlds of fashion and art by bringing the talents of young artists into his enterprise. Raoul Dufy, for example, designed printed textiles for Poiret’s atelier.
Anonymous, ‘Costumes de Jersey’ by Chanel, Les Elégances Parisiennes, July 1916. Private Collection. Belted jumper-blouses pulled on over the head and worn over a blouse and skirt typify Chanel’s easy-to-wear separates. The center model is wearing the two-tone shoes that would become a Chanel trademark.
In 1911 Poiret commissioned Georges Lepape to illustrate his second brochure, Les Choses de Paul Poiret. Both these albums, printed on high-quality paper in limited editions, used the pochoir method of printing for the plates. This process, based on Japanese techniques refined by Jean Saudé, involved creating a stencil for each layer of color, which was then applied by hand; sometimes thirty stages were needed to achieve the freshness of the original illustration.
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1900–1924
Less exclusive and expensive the Poiret’s rarefied albums were the numerous new magazines of this period, such as Modes et Maniéres d’aujourdui (1912), Le Journal des dames et des modes (1912), British Vogue (1916), La Guirlande des mois (1917), Falbalas et franfreluches (1920), Art, goût, beaute (1922), the German styl (1922) and French Vogue (1923). However, it was the Gazette du bon ton (1912) which represented a unique collaboration between artists, couturiers and publishers. It was founded in Paris by Lucien Vogel, an art directory, editor and publisher, who, like Poiret, had the knack of garnering talent. He employed a group of young artists, many of whom trained together at the Ecole des Beauz Arts, and gave them unprecedented freedom in their interpretation of fashion. In a financial collaboration with seven of the major couture houses of the day (Poiret, Chéruit, Doeuillet, Lanvin, Docucet, Redfern and Worth), whose designs were featured in the magazine, the Gazette maintained the highest possible standards in content and reproduction. Interspersed with witty text illustrated with bas-de-page line drawings, each edition contained up to ten color pochoir plates and several croquis,
Etienne Drian, ‘La Marseillaise’, Gazette du bon ton, 1915. Pochoir print. CSM Archive. A series of four images with a patriotic theme demonstrates Drian’s superb draftsmanship. His confident, fluid style in the tradition of Boldini and Helleu gave his models an elegance evident throughout his long career.
Anonymous, Advertisement for Burberry London, 1918. Courtesy of The Advertising Agency. Thomas Burberry developed the breathable waterproof fabric ‘gabardine’ for agricultural workers. In 1901 the company designed a new service uniform for British officers and went on during the First World War to create the invaluable ‘trench coat’, a fashion staple ever since.
World War I was a major war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. It involved all the world’s great powers, which were assembled in two opposing alliances: the Allies (United Kingdom, France and Russia) and the Central Powers (originally centred around the Triple Alliance of Germany, AustriaHungary and Italy). These alliances both reorganized (Italy fought for the Allies), and expanded as more nations entered the war. Ultimately more than 70 million military personnel, including 60 million Europeans, were mobilized in one of the largest wars in history. More than 9 million combatants were killed, largely because of great technological advances in firepower without corresponding advances in mobility. It was the sixth deadliest conflict in world history, subsequently paving the way for various political changes such as revolutions in the nations involved.
Howard Giles, Cover from The Ladies’ Home Journal, C. 1917. Courtesy The Advertising Archives. When the USA joined the war in 1917, thousands of ‘doughboys’ – men belonging to the American Expeditionary Forces – went to France. A fashionably dressed young wife bids goodbye to her husband, who is dressed in khaki uniform with puttees and a field hat.
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1900–1924
Bernard Boutet de Monvel, plate from Costumes Parisiens, 1913. Courtesy The Stapelton Collection. A three-piece suit with contrasting waistcoat hints at increasing informality. Boutet de monvel, another member of the artists’ group known as the ‘Knights of the Bracelet’ was himself a renowned dandy.
or design sketches. One of the most influential fashion magazines ever produced, the Gazette ran for 69 issues, from 1912 to 1914 and from 1920 to 1925. A special edition was published in France and the United States in 1915, in collaboration with Condé Nast, the publisher of Vogue, who went on to buy a controlling interest in the Gazette in 1921. Condé Nast was investing heavily in illustration for his own publications. Many of the Gazette’s original team, such as Pierre Brissaud, André Marty, Charles Martin, George Barbier and Pierre Mourgue, were working for Vogue on all three editions,as well as on other high-quality magazines.
Between 1916 and 1939, Georges Lepape did more than 100 covers for Vogue. In New York Condé Nast’s homegrown illustrators included Helen Dryden, George Plank and Eric (Carl Erickson), while William Randolph Hearst’s rival publication, Harper’s Bazar, signed an exclusive contract with Erté which lasted from 1915 to 1938, one of the longest collaborations in publishing history.
R. L. Leonard, Plate from Styl, January 1922. Pochoir print. Courtesy The Stapleton Collection. Comfortable separates show the widespread influence of casual wear. For many years, Germany had been at the forefront of fashion magazine publishing. However, Condé Nast’s German edition of Vogue, launched in 1928, lasted barely a year and with the rise of Nazism, German fashion became increasingly introspective.
1 2 3 4 5 6 7 8 9 9.5
1950
28
1950–1974
until his death in 1957, Dior dominated couture. An increasingly wealthy international client list and an enthusiastic following in the United States, led by American fashion editors and with the endorsement of leading stores such as Neiman Marcus in Dallas, which had awarded Dior an ‘Oscar’ in 1947, meant that the House of Dior soon became the largest in Paris, employing one thousand workers. The New Look was followed by a series of collections based on architectural and geometric shapes, future developed after Dior’s death by his assistant Yves Saint Laurent. In 1961 Saint Laurent set up his own maison de couture, followed by a chain of Rive Gauche boutiques. He became known for such perennial classics as the trench coat, the safari suit and, in 1966, le smoking, an evening trouser suite based on the male tuxedo. Describing clothes as ‘a form of protest’ , Saint Laurent challenged the conventions of the couture industry, drawing inspiration from a wide variety of sources rather than developing René Gruau, Original illustration for International Textiles, April 1951. Collection of The Gemeentemuseum Den Haag. Published monthly in Holland from 1933 to 1988, and then in London, International Textiles is aimed at manufacturers. It forecasts future trends and reports on couture shows.
a ‘line’ , thereby earning from John Fairchild of the influential Women’s Wear Daily the title of ‘the first modern couturier’.
Ruth Freeman, Ronald Paterson coat for Harrods promotional material, c. 1951. Private collection. Paterson was well-known for his classic designs in tweed, of which this is a superb example.
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1950–1974
sir norman hartnell During 40 years of designing for royalty (for which he was knighted in 1977), Hartnell helped to create the iconic image necessary for the sovereign, as can be seen in his illustration for the Queen’s coronation gown. He used his experience in the theater to create a garment that would work well on the television screen. The white satin gown was richly embroidered with colored flowers emblematic of the four corners of the kingdom and the dominions.
The younger generation of designers in Paris tapped into new sources of inspiration. In the sixties futuristic ideas derived from the space race between the United States and the Soviet Union inspired Pierre Cardin, André Courreges and Emanuel Ungaro, while Paco Rabanne experimented with alternative materials, such as chainmail and plastic discs. However, despite Dior’s success in revitalizing Parisian couture, its exclusivity was now in danger of making it irrelevant. The number of couture houses in Paris fell to an all-time low. Between 1966 and 1968 Saint Laurent, Courréges, Dior and Givenchy all introduced cheaper ready-to-wear ranges and increasingly relied on perfumes, cosmetics, hosiery and accessories to keep them afloat. It was the branding of these produces, rather than the couture itself that would become the foundation of the industry, generating huge global sales by the last quarter of the century. In Britain in 1953, Norma Hartnell’s coronation gown for Queen Elizabeth was the centerpiece Anonymous, Plate from L’Officiel de la couleur des industries de la mode: Cahiers bleus, No. 12, c. 1952. Courtesy The Stapelton Collection. Two raincoats by Lanvin Castillo. Jeanne Lanvin died in 1946 and in 1950 Antonio Conovas del Castillo (who had been designing haute couture for Elizabeth Arden in New York) was appointed chief designer. These practical raincoats are made in nylon fabric, swatches of which are attached.
of a spectacular occasion recorded on television for the first time. Television would become one of fashion’s chief conduits to its consumers, a significant element of whom would be the newly affluent teenagers of the postwar years, whose lifestyle and dress were no longer dictated by the older generation.
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1950–1974
Women used a variety of garments and devices to cover, restrain, or modify the appearance of breasts. From the 16th century onwards, the undergarments of wealthier women were dominated by the corset, which pushed the breasts upwards. In the latter part of the 19th century, various alternatives were experimented with, splitting the corset into a girdle-like restraining device for the lower torso, and transferring the upper part to devices suspended from the shoulder. In the late 19th century, bras replaced the corset as the most widely used means of breast support. By the early 20th century, garments more closely resembling contemporary bras had emerged, although large-scale commercial production did not occur till the 1930s. During the 20th century, greater emphasis has been given to the fashion aspects of brassieres. Brassiere manufacture is a multi–billion dollar industry dominated by large multinational corporations.
By the mid-fifties youthful subcultural groups were beginning to spring up on both sides of the Atlantic – groups whose philosophies questioned the status quo,
Anonymous, Advertisement for Kayser Bondor, c. 1957. Courtesy Museum of Costume, Bath. In this advertisement, Kayser Bondor, an Anglo-American lingerie and hosiery manufacturer, appeals to the younger woman. Nylon, synthesized by Du Pont in 1938, revolutionized postwar underwear and hosiery.
rebelled against authority and expressed their antipathy towards the ‘Establishement’ through their dress, in the process adopting uniforms of their own. These so-called style tribes ranged from the Parisian left-bank existentialists, the beats and the beatniks, to the teddy boys, mods, rockers and hippies. Elements of their wardrobes entered mainstream fashion – indeed, some became mainstream fashion – and it was the groundswell of vibrant, young culture, mediated by new art-forms, psychedelic drugs
and, above all, by the pop music of the late fifties and sixties, that was to undermine the hegemony of the couture and change the face of fashion forever. The ‘youthquake’ that took place in London from the late fifties on played a major part in this revolution. Postwar Britain began an economic recovery: statefunded art schools became fertile sources of new talent, producing artists such as Bridget Riley, David Hockney, and one of the founding figures of Pop Art, Richard Hamilton. The Royal College of Art established a prestigious Fashion MA course, headed from 1956 by the charismatic Janey Ironside, who nurtured pupils such as Ossie Clark and Bill Gibb. In 1966, the influential US magazine Time featured an article on ‘Swinging London’, though London had in fact been swinging for nearly a decade. In 1955, Mary Quant, a graduate of Goldsmith’s College of Art, had opened her first boutique, Bazaar, just off the King’s Road. It soon became a focal point for the ‘Chelsea set’ , selling innovative designs aimed at the younger generation who no longer wanted to dress like their parents. Quant catered to her customers’ demands by designing fun, colorful clothes: skinny-rib sweaters, pinafore dresses, colored tights (now essential with the miniskirt), shinny PVC macs and a makeup range in sleek silver and black packaging decorated with her daisy logo. The miniskirt – that most iconic sixties garment – appeared around 1965. It is often attributed to Quant, though, like Dior’s New Look, it was more of an evolution than an overnight innovation. If Quant changed the face of women’s fashion at this time, it was John Stephen, known as ‘The King of Carnaby Street’ , who was largely responsible for the ‘peacock revolution’ transforming menswear in both style and retailing. His René Gruau, Original illustration for cover Sir, early 1960s. Brush drawing, ink and watercolor. Coutesy Galerie Bartsch & Chariau, Munich In a two-dimensional image, Gruau uses Op Art motifs and flat color in a radically innovative illustration. Published by the International textiles group, Sir was a quarterly magazine for the trade, reporting the latest trends in menswear.
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1950–1974
shops sold a range of stylish causal separates and sharply cut suits influenced by sleek Italian tailoring so beloved of the early mod dandies. By 1966, he owned 22 outlets in London, nine of them in Carnaby Street, by now such a popular shopping destination that it had become a tourist attraction in its own right. Small, independent boutiques proliferated – by 1967 there were reckoned to be at least 2,000 such outlets in Greater London. The Biba boutique opened in 1964; three years later it was estimated that up to 3,000 ‘dolly birds’ a week were buying into Barbara Hulanicki’s ‘little girl’ look. The brash commercialization of current fashion soon palled for the style-setters, led largely by the new pop aristocracy. Psychedelic drugs informed a new aesthetic – a mix of swirling colors, vintage clothing and ethnic influences, particularly evident after the Beatles’ trip to India. Previously the Liverpool group had based their image on the mod look – collarless shiny mohair jackets, drainpipe trousers and chelsea boots. Soon they were subverting fashion and in 1967, on Peter Blake’s record cover for Sergeant Pepper’s Lonely Hearts Club Band – the quintesBobby Hillson, Original illustration of the Paris collections for The Observer, c. 1965. Pencil and paper. Artist’s Collection. Hemlines are beginning to rise. By its nature, the miniskirt was suited to younger women. For many older women, the final acceptance of trousers into the fashionable wardrobe in the mid-1960s came as a relief.
Constance Wibaut, Sketches from Paris, 1966. Collection of The Gemeentemuseum Den Haag. Wibaut’s sketches show clean, spare lines, imaginative cutting and helmet-style hats associated with Pierre Cardin.
Paul Christadoulou, Evening ensemble by Clive, Lanctan catalogue, Autumn 1965. CSM Archive. Lanctan, a leather-tanning company based in Lancashire featured leading designers’ work in their catalogue, alongside leather samples and color swatches for shoes and handbags. Clive’s brocade evening jacket is worn over a bare-shouldered sheath.
“John Stephen, known as ‘The King of Carnaby Street’ was largely responsible for the ‘peacock revolution’...” sential psychedelic album of the sixties – they were featured in brightly colored satin uniforms. As a reaction against the war in Vietnam, peace and love became watchwords of a generation: the King’s Road, perfumed by patchouli oil, resonated to the sound of tinkling cowbells. The hippies in the United States, more politically motivated than their British counterparts, emerged at a time of political unrest. The Black Power movement had arisen in the mid-sixties and student antiwar protests were increasing. San Francisco’s Haight-Ashbury district became the focus of ‘flower power’: its boutiques provided beads, bells, tie-dyed T-shirts, bell-bottom trousers, and vintage and ethnic clothes for their long-haired customers. The New York underground adopted a more urban
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1950–1974
Anonymous, Advertisement for Louis Feraud designs in Courtelle fabrics, 1969. Private Collection. Many designers in the 1960s explored the potential of synthetic fibers, adding to their cachet. Louis Feraud, famous for his use of color in clothes, opened his ready-towear salon in Paris in 1955.
Antonio Lopez, Original illustration of summer sportswear for British Vogue, April 1968. Pentel and color overlay film on paper. Courtesy Galerie Bartsch & Chariau, Munich. Nylon quilted and zipped allin-one suits for water skiing by Colsenet at Simpson’s, modelled by Donna Mitchell. The swirling print, long Art-Nouveau-style hair and tinted sunglasses reflect the arrival of the psychedelic age.
Antonio Lopez, Original drawing for British Vogue, July 1970. Pentel and color overlay film on paper. Courtesy Galerie Bartsch & Chariau, Munich. An embroidered linen shepherd’s smock and matching trousers embody the trend towards rediscover of a utopian past and the popularity of authentic handicrafts.
style based on Pop Art. Glittering sequins, paper and plastic dresses and ‘throwaways’ were worn by the in-crowd who bought them from boutiques such as Paraphernalia, an innovative showcase for young American and British designers. There was no more acute observer of this scene than Andy Warhol, who had begun his career in the fifties as a commercial illustrator. The sixties saw the continuing demise of fashion illustration in magazine publishing. Illustrated covers were occasionally featured and editorial illustration was included by artists such as René Bouché, Alfedo Bouret, Tod Draz, Tom Keogh, and, in England, by Eric Stemp, John Ward and Audrey Lewis. But the medium was the wane. Eric died in 1958 and Bouché in 1963; they were the last of ‘the old school’ illustrators, with the notable exception of René Gruaru, who continued to make an impact with his dynamic,
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1950–1974
boldly outlined drawings, most notably
Constance Wibaut, sketch from Paris, c.1966. Collection of The Gemeentemuseum Den Haag.
for the Christian Dior perfume campaign. Increasingly illustration was reserved for advertising, or for underwear of accessory
Cardin’s menswear was truly innovative – here a zipped gilet is worn over a black roll-neck. Tight trousers and a helmet hat complete the outfit. Cardin was one of the first designers to promote unisex styles, a growing feature of late 20th-century fashion.
features. Magazine art editors, particularly those working for new, high-end publications such as Nova and the revamped Queen, put their resources into photography, which, after years of experiment, was breaking new ground. Photographers and their muses/models became the new celebrities: David Bailey and Jean Shrimpton, Twiggy and Justin de Villeneuve were regularly featured in the pages of the
glossies. The iconography of ‘Swinging London’ was evoked by models posing with British ‘bobbies’, or cavorting in Trafalgar Square, while the influence of hippy fashion (what Warhol called the ‘Pakistani-Indian-international-jet-set-hippie-look) was underlined by photo shoots in exotic settings in far-flung places. The irony was that much of the hippie movement’s aesthetic was mediated through graphic design, also currently enjoying a renaissance through pop posters, underground magazines such as Oz, and shop design, but not noticeably through fashion. It was, however, in evidence in the teen magazines aimed at the youth market, a number of which were launched during this time. Honey (1961), the first British magazine to use black models, Jackie (1964), Petticoat (1966), and 19 (1968) all used
Caroline Smith, Advertisement for C&A, c. 1973. Artist’s Collection. Smith depicts the tactile qualities of fake fur. C&A, a Dutch-owned store, continues as a purveyor of inexpensive fashions on the high street in Europe.
Eric Stemp, Raincoats and tweeds for Simpson’s catalogue, c. 1971. Courtesy Daks/Simpson’s Archive. Mainstream fashion for the more conventional customer continues to promote classic British style and fabrics. Stemp taught Fashion Drawing at Central Saint Martins and the ‘attenuated elegance’ typical of the college style can be seen in his work.
illustration as a cheaper alternative to photography. Their customer profile was of young women and teenagers for whom couture and costly designer wear were an anachronism: their role was to inspire and suggest, rather than dictate. And the advice was, ‘Anything Goes’. In the sixties and seventies the trade magazines such as L’Officiel de la mode et du couture, International Textiles and Sir used some of the best illustrators of the time, among them Gruau, Constance Wibaut and Tod Draz. In New York, Women’s Wear Daily (WWD), revamped in 1960 by John Fairchild, employed a team of staff illustrators to capture the look and feel of the moment, providing up-to-the-minute information for the American rag trade. At this major journal, described as an ‘art factory’, a galaxy of illustrators (unusually credited with a byline) were given free rein to express zeitgeist, and produced some of the period’s most exciting images.
The publishers wish to thank the institutions and individuals who have kindly provided photographic materials for use in this book. In all cases, every effort has been made to contact the copyright holders, but should there be any errors or omissions the publishers would be pleased to insert the appropriate acknowledgement in any subsequent edition of this book.
A visual feast of 400 dazzling images, this book is both a comprehensive survey of the history of fashion illustration in the last 100 years, and an overview of the development of fashion, as seen through t he eyes o f the greatest illustrators o f the day. 100 Years of Fashion Illustration encompasses work b y over 1 40 named illustrators, together with many rarely seen and anonymous examples, and stands as an unparalleled source of r eference and i nspiration for fashion professionals and students, dress historians, artists and illustrators, and anyone who loves fashion.