Tagged: vogue
  1. 27

    Nov 2015

    Fashion Fridays ~ Pierre Mourgue (1890 – 1969)

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    Pierre Mourgue was born in France, 1890. He was a regular contributor to the premiere French fashion magazine, La Gazette du Bon Ton. As such, the influential magazine was picked up by publishers, Condé Nast, who distributed it across American under the name, Gazette du Bon Genre. The magazine’s artwork was comprised of many talented French illustrators, including Paul Iribe, Pierre Brissaud, Georges Lepape. Condé Montrose Nast enlisted all of the La Gazette du Bon Ton artist for another one of his magazines, Vogue.

    Pierre Mourgue was based in Paris but made frequent trips to New York, as such, his illustrations were regularly on and inside the covers of Vogue magazine. His ink and gouache illustrations brought a Parisian flair to the American edition.

    Mourgue’s style updated with art movements. A lot of his early work has a strong Art Deco influence, with his 1940s and 1950s work resembling the American advertising illustrations that we regularly associate with that era. His illustrations often get compared to Pierre Brissaud’s, for their use of exaggerated figures and their disposition for pretty girl.

    Mourgue illustrated for fashion designers Nina Ricci, Christian Dior, and Marcel Rochas. Bringing their garments to life with his careful observation, and ability to infuse a sense of fun and coolness.

    You can see a large collection of Pierre Mourgue’s illustrations over at Hprints.

  2. 6

    Nov 2015

    Fashion Fridays ~ René Bouët-Willaumez (1900 – 1979)

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    René Bouët-Willaumez was a French aristocrat born in Brittany, in 1900. After abandoned engineering for art, he began working for Vogue in 1929. Joining the industry in the midst of change, where photography was becoming the dominant means of reporting on fashion trends. This, however, did not hold Willaumez back. His unhesitating and incisive ink drawings illustrated the hubris and elegance of fashion in a way that had not been seen carving out a demand for himself.

    Within just a few years, Willaumez had honed his craft and his monogram “RBW” became a familiar fixture on the pages and covers of Vogue magazine. By the mid-1930s he was heralded as top of his profession, with his only substantial equal being Carl Erickson. Willaumez was a few years younger than Erickson, yet a professional, sometimes fractious, rivalry developed between the two and remained through the course of their careers.

    Their work shared notable similarities. An untutored eye would be forgiven not distinguishing between the two. Erickson’s was softer in contrast to Willaumez’s crisper line. Erickson’s medium of choice was charcoal allowing him to create numerous subtle variety of edge. Whereas Willaumez used a pen, allowing for precision and an assured response. The two almost certainly recognised their essential differences and work towards widening them. Their paths inevitably crossed on many occasions, and though they were not friends, they found mutual professional recognition.

    Willaumez had moved around a lot from Paris to London and then New York. Throughout the 1940s, whilst in New York, the American editor of Vogue made good use of his à la mode style. Willaumez worked with Vogue up until the early 1950s, where his appearance in the magazine abruptly drop. His work last appeared in the American Vogue in 1953. He did contribute to the occasional European edition, but 1958 saw his association with the magazine end. He left New York and returned to France.

    Erickson, who was still working for Vogue, was suffering from failing health died in 1958. Willaumez, retired by then and remarried (for a third time). He died a few years later in 1979, at the age of seventy-nine years old. The passing of Erickson and the retirement of Willaumez concluded a chapter in Vogue’s and concurrently magazine history. By the early 1960s, magazines were using photography exclusively.

    If you are interested in finding out more about René Bouët-Willaumez, I highly recommend picking up Fashion Drawings in Vogue: René Bouët-Willaumez. It is filled with his pen and ink illustrations, many in full colour and does a great job of painting a picture of the industry at the height Willaumez’s popularity.

  3. 16

    Oct 2015

    Fashion Fridays ~ Ricardo Fumanal

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    Ricardo Fumanal was born in Huesca, Spain in 1984. After studying graphic and advertising design, he moved to Barcelona where worked as a graphic designer, collaborating with various studios on a range of projects. Whilst in Barcelona he also furthered his studies, this time in printing techniques and illustration.

    After cultivating both his “youthful spirit” and an array of visual language techniques, Fumanal moved to London. Working with clients such as Moncler, Lou Dalton, Revlon, Mango, Fred Perry, Richard Nicoll, and magazines such as TIME, Dazed & Confused, Vogue Japan, and The Daily Telegraph.

    Illustrating in the traditional manner of marker, pencil and ink on paper, Fumanal’s wide range of influences including fine art, fashion and photography is applied throughout his work. His understanding of layout and graphic design is also evident in his work. Fumanal’s beautiful and realistic portraits are distorted through the use of fading lines and purposely uncomfortable compositions. Layering and obscuring objects to give us just enough, but rarely allowing the audience to see the person in full. Quite a clever technique to make us wanting to see and know more.

  4. 9

    Oct 2015

    Fashion Fridays ~ Carl Erickson (1891 – 1958)

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    Carl Oscar August Erickson was a prolific American advertising and fashion illustrator, born 1892 in Joliet, Illinoise. He studied at the Academy of Fine Arts in Chicago for two years. Whilst at art school people began calling him “Eric”. The nickname stuck and would later adopt it as his signature. At the start of his career he worked for advertising agencies such as Marshall Field, and Lord & Thomas (now FCB). In 1914 Erickson move to New York, and continued to illustrate for advertising.

    He made the transition into fashion drawing his first fashion illustration for the trade journal, the Dry Goods Economist. A short while later, in 1916, made his debut for Vogue magazine. He fell in love and married a fellow Vogue illustrator, Lee Creelman. The two moved to Paris in 1920, where Erickson began illustrating for the French edition of Vogue and drawing society portraits. The couple lived in France for two decades but were forced to return to American due to the invasion of Paris in the Second World War.

    By 1925, Erickson was a regular artist for Vogue magazine and a dominate figure in the fashion world. He developed a working relationship with French fashion designers Pierre Balmain and Cristóbal Balenciaga, as well as collaborating with artist René Bouët-Willaumez and René Bouché. Erickson continued to work until his death in 1958. After his death, he had the unique honor of two retrospectives of his work hosted by the Brooklyn Museum and Parsons School of Design. One in 1959 and the second in 1964.

    Throughout his career Erickson was focused and hard-working. Constantly practicing and making studies, taking his sketchbook wherever he went, from restaurants to theaters. For each published magazine piece, he would make a multitude of preliminary sketches. He would also always draw from life, and never drew without a model. He used many different types of media included charcoal, pencil, Chinese ink, watercolor, and gouache. He was referred to as “the Toulouse-Lautrec of America” and in 1982 was inducted to the Society of Illustrators Hall of Fame.

    You can find a lot of Carl Erickson’s work around the web as well as some in some fashion books, such as 100 Years of Fashion. There is also a 128-page book, Fashion Drawings in Vogue: Carl Erickson, that was published in 1989. A good condition copy can sell for quite a bit, but you can still find pretty cheap second-hand ones on Amazon.

  5. 19

    Jul 2013

    Fashion Fridays ~ Lena Ker

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    Russian fashion illustrator Lena Ker uses watercolour paint so delicately, yet still manages to bring attention to the finest details in a garment whilst creating eye-catching pieces. Her accessory illustrations are just as inviting as those with people pictured. I also particularly like the way her work looks in print, as editorials; it sits so beautifully next to the text.

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