100 F a years of

Transcription

100 F a years of

n
o
i
h
s
a
F
years
of
100
Luis Angel Morales
and
Frederic A. Sharf
•
Jean S. and Frederic A. Sharf Collection
Museum of Fine Arts, Boston1
ACKNOWLEDGEMENTS
This publication celebrates an exhibition in the Sharf Visitor
Center on the campus of MorseLife, West Palm Beach, Florida.
It is not easy to assemble a group of drawings which could exhibit
the evolution of style in women’s dress. In order to put together
drawings from various periods I relied on key dealers.
Collectors could not exist without connections to serious, thoughtful,
knowledgeable dealers! This exhibition owes a lot to Philip Athill
in London and Fred Taraba in Casper, Wyoming.
I am fortunate to have connected many years ago with Phil French.
He may well be the last of the talented fashion illustrators whose
work was once familiar to ladies all over this country.
Research and text for this exhibition, and for this book, came from
the many hours of labor by Luis Angel Morales. He has a passion
for the fashion industry; and knowledge of the changes which took
place during the 20th century.
Mark Wallison, based in Philadelphia, worked with Angel to select
the drawings. Photography, framing, shipping and installation all
were Mark’s responsibility.
Paul Cyr designed this book. Jim Stiles supervised the printing of
this book.
Frederic A. Sharf
November 2014
Copyright © Frederic A. Sharf 2014
All rights reserved. No part of this work may be reproduced or utilized in any form or by any
means, electronic, mechanical, including photocopying, recording or by any information or
retrieval system, without the prior written permission of the publishers.
This publication was printed and bound by Velocity Print Solutions, Middlebury, CT
ISBN-10: 0-9903152-3-1
ISBN-13: 978-0-9903152-3-0
Library of Congress Control Number:
A catalog record for this book is available from the Library of Congress.
FIRST EDITION
Printed in the United States of America
2
Contents
INTRODUCTIOn
5
THE GILDED AGE
7
THE JAZZ AGE
15
THE FABULOUS FIFTIES
31
THE SWINGING SIXTIES
45
THE SENSATIONAL SEVENTIES
51
THE ELEGANT EIGHTIES
57
Figures from a 1950s Catalina swimsuit ad
by Artist Ren Wicks. (see page 39)
3
4
100 YEARS OF FASHION
INTRODUCTION
100 years of Fashion
Original Vintage Watercolors
There are many reasons for depicting fashion. To begin with,
designers needed to set down on paper their ideas. Some did so in
quick notes, while others created finished works of art.
PAGE 2: Nautical Summer
Artist: Brian Stonehouse
Date: Early 1970s
Black hair model wearing a striped tank top
with wide-legged stripped pants, wide-legged
trousers and bellbottoms were very popular in
this decade. Women started wearing pants in
the 1970s after YSL popularized the femme
fatal look of the “Le Smoking,” a tuxedo
jacket and pant. She completes the look with
a red scarf wrap on her hair.
Fashion Show
Artist: Unknown
Date: Early 1940s
OPPOSITE:
This poster, for a school’s fashion show
illustrates a lady in an V-neck strap dress.
The dress’ graphic white and red stripes
resemble styles from the well-known
surrealist designer Elsa Schiaparelli’s 1939
collection before the Second World War.
To give it more visual interest, the artist
exaggerated the length of the train.
Fashion illustrators were employed from the late 19th century to the
mid-20th century. Their job was to create artistic interpretations of
the designer’s garment, which were used to sell the apparel.
Artists who worked in the fashion illustration field often developed
their own unique style. They became interpreters of fashion.
Their work was sought after by magazines, newspapers, and retail
establishments.
Producers of movies and theatre needed artists who could create
costume designs. Their work needed to be very detailed and
accurate.
Fashion illustrations were rarely treated as works of art. They were
discarded once their purpose had been realized. Gradually, the
services of artists were no longer required. Photography pre-empted
the field.
The works of art which we have selected for this exhibition tell
the story of 100 years of fashion. We hope that you will find the
adventure of looking at this art fascinating and interesting.
Frederic A. Sharf
Luis Angel Morales
INTRODUCTION
5
6
100 years of
Fashion
THE GILDED AGE
ABOVE: Katherine’s Gibson Girl Purple
Gown, Circa 1890
Artist: Studio of B.J. Simmons & Co.
Date: 1938
Client: MGM Studios, London
This corseted, leg-of-mutton sleeved look,
would have been worn indoors. A lady would
not have a need to accessorize this look for
home use. There is a beautiful ruffled detail
along with the high collar and small brooch.
Katherine’s Evening Gown,
Circa 1890
Date: 1938
OPPOSITE:
Variations of evening-ball gowns with a
combination of a light blue-greenish fabric,
black ribbons, crimson piping and a corset
make for a stylish looking lady. A lady would
always wear gloves, jewels and carry a fan.
The Gilded Age expanded from 1870 to the turn of the century.
The term derives from Mark Twain’s novel The Gilded Age:
A Tale of Today, in which he exposes the disparities of “the
classes” as well as corruption after the Civil War. It was a period
of great economic growth in America, turning the nation into
an industrial giant. Because of America’s prosperity, European
immigrants poured in, increasing the population.
During this period, the House of Worth, a Parisian couturier,
dictated fashion. He was the first couturier to promote his designs
rather than making garments to client’s specifications. Illustrator
Charles Dana Gibson was also influential by creating the “Gibson
Girl” look of the 1890s. He wanted to exemplify an image of ideal
beauty and femininity.
The costume illustrations featured are from the 1939 film
adaptation of the novel Goodbye Mr. Chips by James Hilton. These
designs were created by B. J. Simmons to resemble fashion styles from
the 1890s up to the 1920s. Goodbye Mr. Chips tells the heartfelt story
of the meek teacher Mr. Chipping, a role played by Robert Donat.
Mr. Chips goes through life changing events during his forty-three
year tenure at the grammar school Brookfield. It is a sensational
story and these illustrations show the skillfulness of costumiers who
produced appropriate costumes for each character.
THE GILDED AGE
7
Katherine’s Ball Gown, Circa 1890
Date: 1938
Greer Garson played Katherine, she was nominated for an
Academy Award for her stellar performance. Blush pink gown
with red accents and a train. At balls, ladies were able to expose
more skin. Their chests and part of their arms were bare, while the
hemline remained floor-length. This garment has red-ribbon bow
details, as well as lace at knee height.
8
Yellow Ball Gown with Red Accents, Circa 1890
Date: 1938
This image is an example of how costume illustrators showed
multiple designs using the same fabric references. The yellow
gowns both include the flower printed fabric and small red fringe
around the bust line.
THE GILDED AGE
9
Katherine’s Daytime Gibson Girl, Circa 1890
Date: 1938
The illustration depicts the Gibson girl look in perfect detail. The
waist is corseted, the hem hits the floor, very high collar, and the
leg-of-mutton sleeves, which is voluminous at the shoulders and
narrows at the wrists. The small purse, gloves, hat and parasol
complete the look; accessories were essentials when steeping out
of the house.
10
Mr. Chips’ Overcoat, Circa 1900
Date: 1938
Robert Donat who played Mr. Chips in the 1938 film adaptation,
won the Academy Award for best Actor. This is a very sharp
looking suit and overcoat. Mr. Chips never dressed the part but
his wife Katherine purchases new clothing. The blue and white
plaid fabric lining inside the overcoat complete the look. It is
accessorized with a tie and bowler hat. Men were accustomed
to wear hats.
THE GILDED AGE
11
Mrs. Helen Colley, Autumn 1917
Date: 1938
Variations of costumes for the character Mrs. Helen Colley, played
by actress Jill Furse. In the film, Mr. Chips visits the young mother
during the First World War, while his former student, Mr. Peter
Colley, is actively serving in combat. The costumes are reflective
of 1917 fashions. The hemline is slowly rising and neither look is
corseted.
12
Mrs. Wickett, 1910, 1916, and 1928
Date: 1938
Costumes for Mrs. Wickett, played by Louise Hampton. In his
retirement Mr. Chips rents a room in Mrs. Wickett’s residence
directly across from the school. It was common for widows at the
time to room and board professionals as a source of income. These
costume illustrations are the perfect example of how fashions
evolved through three decades. The 1910 costume is a very
structured dress reminiscent of Gibson Girl fashions. It is corseted,
with a high collar, and the hemline hits the floor. The 1916 dress is
more relaxed, the corset is removed and in its place, a belt cinches
the waist, while the hemline slowly rises. Though the hemlines
rose in the 1920s, Mrs. Wickett’s 1928 blue outfit is still demure;
she is an older lady. She wears an apron and the neckline is more
exposed with the lace collar.
THE GILDED AGE
13
14
100 years of
Fashion
THE JAZZ AGE
Beauty Wearing Headphones
Artist: Unknown
Date: Late 1930s
ABOVE:
Headphones for home listening were
first introduced in 1937, as seen in this
advertisement. The young model listens to
music with her headphones. She sports a
blue, short sleeve dress with floral accents
near the side hem. She wears gold-heeled
shoes with blue accents to match the
garment.
OPPOSITE:
Fashionable Skier
Artist: Alureda Leach
Date: Late 1930s
In the 1920-30s, recreational sports became
popular in the United States; along with it,
came the invention of sportswear. Hannes
Schneider propelled skiing in America. The
Austrian born instructor arrived in 1939 after a
brief Nazi incarceration. He established a skiing
school at Cranmore Mountain Ski Resort, in
North Conway, New Hampshire. Here we
see a fashionable woman skiing in a black
coat with blue stripes and orange and yellow
checks. She pairs it with a bright orange scarf,
knitted with a geometric pattern and a black
fur hat.
The end of the First World War gave
way to a decade of economic prosperity.
Along with it came a new wave of cultural
dynamisms. It was an age of social
change, in which women were given the
right to vote. During this time, America
faced prohibition making a way for
subcultures to form such as speakeasies
and the Harlem Renaissance and the
youthful flappers, who broke the modesty
codes of years past.
In the arts, the Art Deco movement defined the decade; composed
of geometric designs, lavish ornamentation and modernity. In 1925,
Art Deco was introduced at the Paris’ World’s Fair, titled Exposition
Internationale des Arts Décoratifs et Industriels Modernes.
In fashion, Parisian couturiers were the trendsetters. Designers such
as Gabrielle Chanel, Jean Lanvin, Mariano Fortuni and Paul Poiret first
introduced defiles or parades to show their latest collections.
Alureda Moore Littlejohn was born in Portland, Maine, on
August 20, 1903. Her name changed to Alureda Leach when her
mother remarried and Alureda took on her stepfather’s last name.
She is better known as “Rita,” as most of her signed work reads, her
name was uncommon and “Rita” was an ideal alias.
The Leach family resided in Boston and Alureda developed an
affinity for the arts, she attended the Museum of Fine Arts School
in Boston, followed by the Hartford Art School and finally receiving
a Certificate in Costume and Commercial Illustration from Pratt
Institute in 1925.
Alureda embodied the jazz age flapper and her work depicted
the Art Deco movement to perfection. She worked as a freelancer,
illustrating for many advertising agencies in New York City.
Although she had a prosperous work career, she was never a
famed artist and by the 1930s her Art Deco illustrations were no
longer fashionable. She was married Walter Baumhofer, a renowned
Pulp magazine artist. It is unknown whether she stopped working
because Walter’s career took off or she couldn’t adapt to the new
illustration styles.
In the 1960’s Alureda returned to work designing textile prints for
beach towels, napkins and scarves. Alureda was a gifted artist and her
beautifully detailed illustrations demonstrate her true talents.
THE JAZZ AGE
15
Hat Styles
Date: 1923
Early 1920s hat styles. As the decade progressed hats became
smaller and less adorned like the cloche hat in the bottom image.
16
Portrait Work
Date: Mid 1920s
Woman wearing cloche hat, fur collar coat and pearl necklace. The
cloche hat was usually made of felt so it could mold to one’s head.
It was worn low on the forehead, almost covering the eyes.
THE JAZZ AGE
17
Student Work
Date: 1924
Alureda illustrates the dress that made Jean Lanvin a legend.
The robe de style was very popular within ladies that could afford
couture. It had a dropped waist, as did everything in this decade,
but the voluminous ruffle skirt differs from the flapper style.
18
Mock Vogue Cover
Date: 1924
Alureda chose to feature a trend that was current during her
school years. The three ladies are wearing robes de style. The
composition allows for the middle image in yellow to be the focal
point. Alureda’s lettering skills are seen in the title.
THE JAZZ AGE
19
A Young Bride
Date: Mid 1920s
Represented above is a dropped-waist wedding dress with art deco
geometric motifs, the hemline is just below the knee. The outfit is
accessorized with silver bangles, pearls and flowers, set into the
short hairstyle.
20
The Veil
Date: Mid 1920s
This 1920s bride has a long lace-veil fastened by a diamond broach.
She is wearing matching gloves and holds a large flower bouquet.
THE JAZZ AGE
21
Traveling Coat
Date: Mid 1920s
This lady is ready to cruise the world as she sits on top of her travel
trunk. She sports a travel coat, printed scarf and a cloche hat.
22
Costume Illustration
Date: Mid 1920s
The silk Delphos gown, popularized by designer Mariano Fortuni is
paired along with a Japanese-style kimono overcoat. The Delphos
gown was Fortuni’s most popular design; the way the pleats were
created was kept secret. The woman strolls holding hatboxes in
each hand while sporting a colorful feather hat.
THE JAZZ AGE
23
Costume Design
Date: Mid 1920s
This costume design was most likely created for a theatrical
production. The flautist plays as black birds surround him.
24
Fur-Trim Coat
Date: Mid 1920s
Fur was an essential piece in every young socialite’s closet.
The wrap-around coat is accessorized with large diamond earrings,
a tiara, and rings.
THE JAZZ AGE
25
Japonaise
Date: Late 1920s
The great couture houses of the time created Japanese inspired
garments. Paul Poiret, the well-known couturier, included kimono
details into his garments. This illustration depicts how traditional
Japanese culture was westernized. The pale face, rose colored
blushed-cheeks, and bold lip is reminiscent of Geisha make up.
26
Boudoir Scene
Date: Late 1920s
A humorous take on a bedroom scene, a woman stands at the top
of the stairs in her undergarments and robe as her dog runs off
with her stocking and the maid laughs. This is possibly a stocking
advertising.
THE JAZZ AGE
27
Fur Shawl
Date: Late 1920s
Client: Gunter Furs
The oversized fur shawl is a perfect example of Alureda’s work,
which is represented in this advertising for Gunter Furs. This look
resembles what stars from the period such as Louise Brooks
sported. Beauty norms were short hairstyles along with thin
eyebrows and a prominent lip.
28
Le Bon Ton Magazine Cover
Date: 1927
Client: Le Bon Ton
October 1927 magazine cover for Le Bon Ton. The latest styles
were featured in this fashion magazine, which was founded in
1851. Here, we see Alureda’s art deco style of illustration at its
best. The colorful fall issue, showcases leather gloves, a leather
clutch and cloche hats among the bold plaid coat.
THE JAZZ AGE
29
30
100 years of
Fashion
The 1950s was a decade of recovery from the Second World
War. It was an era of uncertainty and animosity between
capitalism and communism. In America this decade was the
pinnacle of suburban life which lead to the baby boom.
ABOVE: High Collared, Nautical Ensemble
Date: Mid 1950s
Three-quarter-length sleeve, button-down
blouse belted at the waist. The nautical
sailboat motifs give a sense of whimsy. This
lady completes her look with white gloves.
Bathing Beauties
Artist: Ren Wicks
Date: Mid 1950s
Client: Catalina
OPPOSITE:
Ladies sit with their arms up, showing off
their Catalina swimsuits. These are apron
style swimsuits. The lady in the background
wears a swimsuit with side-ruche panels.
Fashion followed strict guidelines, in which accessories must be
worn to match. Full skirts and voluminous gowns replaced austere
wartime rationing looks. Famed designers such a Christian Dior,
Hubert de Givenchy and Christobal Balenciaga dictated this
frivolity.
Illustrator’s work was chosen to depict this decade’s fashion
styles; Brian Stonehouse’s drawings depict the elegant
dress codes. Ren Wicks illustrated the Catalina swimwear
advertisements. A company founded in 1907 in Los Angeles
California. The company began to produce swimwear in 1912 and
has been in existence for over 100 years.
Ruth Sigrid Grafstrom, who was born in 1905, in Rock Island,
Illinois. Ruth received formal training at the Art Institute of Chicago
as well as The Colorossi Academy in Paris. She is mostly known
for her work at Vogue magazine during the 20’s and 30s’ where she
illustrated many covers. Also, Grafstrom produced illustrations
for many fashion companies including Saks, Matson Line, Neiman
Marcus, Macys, and Coty. She was one of few prolific women
illustrators in a profession dominated by men.
Lastly, Carl Oscar August Erickson, better know as Eric, was
born in 1891, in Joliet, Illinois. He attended the Chicago Academy
of Fine Arts. During his time in Chicago, Eric illustrated for
Marshall Field as well as Lord and Thomas. In 1914, by then an
established fashion illustrator, Eric decided to move to New York
City, where he first graced the pages of Vogue Magazine in 1916.
By 1923, he became a staff illustrator for Vogue. Eric’s career as
“The Fashion Illustrator” lasted over thirty-five years.
31
Exchanging Glances
Artist: Ruth Grafstrom
Date: Early 1950s
Client: The Famous Artist School
Norman Rockwell and Albert Dorne founded the famous Artist
School in 1948. It was a way to provide art courses to aspiring artists around the country. The lessons would be mailed and critiqued
by famous illustrators of the time.
32
Couples’ Outing
Artist: Carl Erickson (Eric)
Date: Early 1950s
Client: The Famous Artist School
Both ladies wear ankle strap stilettos, calf-length skirts cinched at
the waist, and ruffle-detail blouses. During this decade accessories
were of the upmost importance, both ladies wear matching gloves
and hats. The accompanying gentlemen wear suits. The couples
stand around a table at an outdoor concert.
33
The 1950s Coat
Date: Early 1950s
Hourglass tailored coat with black lining on the folded cuffs and
collar. It opens at the front. The woman wears a matching color
fascinator and a red silk scarf.
34
Fur and Accessories
Date: Early 1950s
Model wears a shawl collared fur coat. She carries her gloves in
her hands. Her hair is styled in an up do, showing off her beautiful
stud earrings.
35
Tailored green dress
Date: Mid 1950s
By the mid 1950s, the hourglass shape was not as accentuated.
Although the waist was cinched, the skirt was not as voluminous
as it was earlier in the decade. The model wears a yellowish-green
dress with a white flower pattern. She accessorizes with a pearl
bracelet and white stud earrings.
36
Cream-Color Tailored Day Dress
Date: Mid 1950s
The day dress has a pleated placket with button-up detail. It is
belted at the waist, has puff sleeves and a narrow skirt. The model
wears a matching colored hat, purse, white cuffs and bangles,
white cable necklace and circular earrings.
37
Demure Kiss
Artist: Ren Wicks
Date: 1955
Client: Catalina
ABOVE:
Prolific artist Ren Wicks born in 1911, grew up surrounded by art.
His father owned a commercial art studio in Los Angeles. After
graduating from San Jose State University, Ren began a 30-year
long career in the advertising world. He received many accolades
for his work and he is mostly known for his pin-up paintings, and
airplane illustrations.
Above we see his and hers matching purple and stripped pattern
swimsuits. The couple kisses behind a beach ball in this endearing
image.
Catalina Designs Swimsuits Especially for You
Artist: Ren Wicks
Date: Mid 1950s
Client: Catalina
OPPOSITE:
The illustration shows 4 different color styles of swimsuits.
During the 1950s, swimsuits were made in the same form as
undergarments, such as bras and corsets. The construction of
these swimsuits allowed women to have the cinched hourglass
shape and since the suits had a bodice, no shoulder straps were
necessary.
38
39
40
Sweethearts in Swimsuits
Artist: Ren Wicks
Date: 1955
Client: Catalina
ABOVE:
Catalina began designing their famous “sweethearts in swimsuits”
collection since the late 1940s. Here we see a couple holding
hands while sunbathing. The woman wears a one-piece stripped
pattern apron style swimsuit. The apron style was a combination of
skirt and shorts to cover the private areas. Her sweetheart sports
the same pattern on his shirt.
Summertime Cotton by Catalina
Artist: Ren Wicks
Date: Mid 1950s
Client: Catalina
OPPOSITE:
Four ladies giggle and stare at the captain walking near by with
a surfboard. The brunet on the left is wearing a tiered skirt style
swimsuit; the blonde wears a ruche bodice, skirted look. The lady
in pink wears an apron style umbrella print with matching bolero
style jacket. The lady on the far right wears a heart neck spaghetti
strap apron style swimsuit.
41
Parasol
Artist: Ren Wicks
Date: Mid 1950s
Client: Catalina
ABOVE:
Ladies sit behind a parasol looking very demure. They wear
apron style swimsuits to show off their hourglass shape and
sun kissed skin.
BELGIMERE made only by Catalina
Artist: Ren Wicks
Date: Mid 1950s
Client: Catalina
OPPOSITE: This is a Promotional advertising for Catalina’s
Belgimere sweater line. Catalina began as a knit company;
crewneck sweaters and cardigans were essential in 1950s
casual, everyday wear. The lady whispers: “Imagine! A sweater
at $7.95 that outlasts cashmere!”
42
43
44
100 years of
Fashion
The sixties were full of social and technological advances.
The decade lived through the Vietnam War, Martin Luther
King Jr. and the end of segregation, women and gay rights,
Woodstock and the counterculture movement, the first
televised presidential election, the assassination of John F.
Kennedy, the moon landing and the British Invasion.
ABOVE: Mini Dress With Bow Detail
Artist: John Bates
Date: Mid 1960s
Client: Cilla Black
Polka dotted baby doll style dress. The mini
skirt defined the decade among the youth.
The dress has a bow detail at the waistline
and it has ruffled three-quarter-length-sleeves.
Fringed Beauty
Artist: John Bates
Date: Mid 1960s
Client: Cilla Black
OPPOSITE:
Mini dress with fringe detail at the hem,
the dress is belted at the waist with a
large circular buckle. There are also tiered
fringe details on the tank top and hem
of the dress. This dress was possibly a
performance dress.
In fashion, it was the first time styles were dictated by the youth
instead of Parisian couture, and also the first time ready-to-wear
garments ruled the fashion industry. Paris was not the only epicenter
of fashion, most fashion trends derived from the United Kingdom.
Designer ready-to-wear collections broke through the dress codes of
the 1950s.
Ready to wear gave way to the boutique scene, some of which
include Biba, Paraphernalia, and Bazaar. The important designers
from this decade include Yves Saint Laurent, Pacco Rabanne, Mary
Quant, Pierre Cardin, André Courrèges and Ossie Clark.
John Bates was born in 1935 in the Northumberland village of
Dinnington. His illustrations depict 1960s youthful energy. He was a
talented sketch artist; mutual friends arranged an entry-level position
with the couturier Herbert Sidon who encouraged John to sketch.
He later opened a dress shop with old coworkers who set the
financial backing for John’s new venture. The store was named Jean
Varon. By 1962-63 the Jean Varon label was well established and
the company grew quickly as shops placed orders. In 1964, along
with British invasion, important retailers such a Bloomingdales,
Macy’s and Gimbels picked up his fashions. John Bates is one of the
designers acclaimed with the mini-skirt; his contribution to the 1960s
youth quake movement will not be forgotten.
45
Young Yet Refined
Artist: John Bates
Date: 1961
Client: Cilla Black
This knee-length dress is cut in an A-line silhouette. Though the
dress is not very revealing, it still has a youthful vibe with details
such as bow at the waist, peasant sleeves, and an oversized shirt
collar. The short, pixie hairstyle also conveys youthful energy.
46
Parisian Mod
Artist: John Bates
Date: 1960-1961
Wool, mini button-up coat with leather collar and pockets. The
leather collar is exaggerated and drapes over the shoulders. She
wears a crepe blouse with peasant sleeves. A beret completes
the look.
47
Sweet Girl
Artist: John Bates
Date: Mid 1960s
It was common for ladies to dress as girls, almost doll-like. She ties
her curls in a bow and wears a polka dotted mini skirt with pockets
and a placket button down blouse with ruffled details. The shirt has
a high, Peter Pan collar and button cuffs on the sleeves.
48
Mini Dress for a Performance
Artist: John Bates
Date: 1967
Client: Cilla Black
Above is a mini skirt dress with top-stitch pleats and wide belt with
circular buckle. The dress has peasant sleeves and it is paired with
black nylons. John Bates’ illustrations with the Initials CB were
specifically made for the TV presenter, actress and singer, Cilla Black.
49
50
100 years of
Fashion
Even with recession, The Vietnam War, oil crisis and political
scandals, the 1970s flourished fashionably. The early 70s
continued the movements from the late 1960s with protests
against the Vietnam War and civil rights movements. It was
also the age of the nightclub scene and Studio 54, which
changed beauty standards. Musically new genres emerged such
as heavy metal, punk, funk, and most importantly, Disco.
ABOVE: Boldly Pattern Pants
Date: Early 1970s
Confident model poses with this bold bluepattern peasant pant. The pant is tailored at
the waist and becomes voluminous below.
She wears gladiator sandals and pairs the
look with a green crop top tied at the bust.
She completes the looks with a bandana.
OPPOSITE: Haute Hippie
Artist: Bill Gibb
Date: Autumn/Winter 76/77
Bill Gibb was a master at mixing ethnic
patterns. His designs are very romantic
and ethereal, using elements from world
cultures, as well as Victorian and Medieval
dress influences. The button down knitted
top has exquisite details such as the pleated
cuff, collar and peplum detail adding to the
romanticized look of this garment. The anklelength skirt has a mix of fabrics and patterns.
In fashion, the hippie movement ruled the beginning of the decade.
Ethnic prints inspired by worldly cultures were in trend and designers
such as Bill Gibb and Ossie Clark were at the forefront of this trend.
The 1970s, marked Yves Saint Laurent’s return to haute couture
and his famous look: “Le Smoking,” a tuxedo for women which
popularized the use of pants for women. Bellbottoms derived from
this trend and women were allowed to ditch skirts and dresses for the
first time. Halston was also very influential and created easy, elegant,
effortless fashions.
Brian J. Warry Stonehouse, M.B.E., was born in Torquay,
England in 1918. For part of his life, his family lived in France.
The family then moved back to England and permanently settled in
Stowmarket where Brian attended the Art School in Ipswich where he
received art training.
Brian was conscripted into the British army in 1939. His first
assignment was to be part of the Field Artillery protecting Scapa
Flow and Orkney. Brian then joined Special Forces Executives; SOE
was espionage assembled to sabotage the German war effort. Brian
received training as a wireless transmitter before being dispatched
into the Vichy region of France in July 1942. He transmitted messages
back to England until he was captured and sent to prison in October
1942. Brian spent the rest of the war as prisoner of war and survived
four concentration camps.
After the war, Stonehouse moved to America where he pursued a
life as a portrait painter. In 1952, Brian started a career in fashion and
landed a position as a fashion illustrator for Vogue where he remained
for about ten years. He then worked creating fashion illustrations
for companies such as Elizabeth Arden, Saks, Lord and Taylor and
Gimbels. The decline of illustrations in fashion magazines began in
1970s, leaving Brian out of a job. The 1970s fashion illustrations were
the last contributions to the fashion industry. He returned to England
in 1978 where he worked as a landscape and portrait painter.
51
Side Pose
Date: 1970s
Now we see a model wearing a rose colored A-line skirt with
matching color footwear. Sandals with chunky heels were
fashionable. She also wears a brown short-sleeve crew top,
stripped pattern scarf and hoop earrings.
52
Over the Shoulder Red Purse
Date: Mid 1970s
The lean and tall model stands holding an over the shoulder red
leather purse. She wears a black A-line skirt and black sweater with
a touch of red on her blouse. The model wears a head wrap, yellow
stockings, and black lace up platform wedge heels.
53
Trench Coat and YSL Russian Peasant
Date: Mid 1970s
On the left: a women walks in a high-collared, knee-length trench
coat, holding a large clutch purse. The woman next to her wears a
peasant style blouse with jeweled details. It is belted at the waist.
She wears a floor-length skirt. The model wears clothing from Yves
Saint Laurent’s Russian collection.
54
Shearling Coat
Date: Early 1970s
Floor-length shearling coat with green decorative detail trim. The
model accessorizes with brown boots, leather gloves and turban.
55
56
100 years of
Fashion
The Eighties lead to revitalized economic growth, along with it came the return of elegance. The fall of the
Berlin Wall put an end to the Cold War. This was a time of progress for women; they were empowered and
entered the workforce. For the first time women saw themselves as equals to their male counterparts. The
1980s was also the beginning of the Computer Age, which would revolutionize the world we live in today.
ABOVE: Woman Wearing a Sleek Evening
Gown and Bold Jewelry
Artist: Phil French
Date: c. 1987
This sleek evening gown is more traditional
than that in the previous drawing. The fur
stole is casually carried; her jewelry is very
impressive.
OPPOSITE: Green and Purple
Off the Shoulders Gowns
Artist: Phil French
Date: Late 1980s
Two colorful models show the back of their
boldly pattern voluminous gowns. The purple
pattern dress has an exaggerated bow detail
in the back.
1980s fashions depicted a powerful and elegant woman. The power
suit was a staple piece for working women, a trend set by Giorgio
Armani. Christian Lacroix puff dresses were exuberant and set the
trend in evening attire.
Steven Stipelman was born in 1944 in New York. He attended
the Fashion Institute of Technology. Steven graduated in 1963 with
a Bachelor in Fine Arts. After graduation, Steven worked for Henri
Bendel, a specialty store, where he produced fashion illustrations for
their advertisements.
In 1964 he began his twenty-nine year career working for
Fairchild Publication. He was hired to create fashion illustrations for
Women’s Wear Daily and W magazine. He remained at this company
until 1993. Steven also illustrated the campaigns of designers such as
Donna Karan, Ralph Lauren and Oscar de Renta.
Stipleman became a permanent staff member of the Fashion
Institute of Technology’s faculty in 1993, where he mentors aspiring
fashion designers. He produced a book in which he teaches fashion
illustration. Steven Stipelman’s work is world-renowned and his legacy
will succeed him as a celebrated fashion illustrator.
Phil French was born in Lebanon, Indiana on March 12, 1943.
He attended the Indiana Central College before moving to Los Angeles
and enrolling at the Chouinard Art Institute. He enrolled at Chouinard
in hopes of becoming a story illustrator but soon found interest in
fashion illustrations. It was Edith Head, the renowned Paramount
Studios costumier, who encouraged Phil to become a fashion
illustrator.
Upon graduation in 1965 Phil walked into L. S. Ayres Department
Store in Indiana with his portfolio on hand, and was hired on the spot.
Phil spent one year at this position and later accepted a position with
the luxury retailer, Neiman Marcus. Neiman Marcus catapulted his
career as a premiere fashion illustrator. Phil worked for NM until
1970; he decided it was advantageous to move back to Los Angeles
and work as a freelance artist.
With his reputation preceding him, Phil was able to make a NM
week’s pay with one assignment. Most of his freelance work was for
Bullock Wilshire. Phil French’s illustration in this exhibition reflect
fashions from the 1980s to portfolio pieces from the early 2000s. His
illustration style is superb and demands attention.
57
Bow Detailed Dress
Artist: Steven Stipelman
Date: Mid 1980s
Above is a slim-fitted vine leaf pattern dress. The dress is longsleeved and has wide shoulders. The front of the dress comes
down into a V-neck and has a large bow below the bust. The model
wears a fitted hat with feather details.
58
Power Suit
Artist: Steven Stipelman
Date: Mid 1980s
The 80s was the decade of female empowerment. Women
entered the male dominated workforce and so did male inspired
suits. The power suits, had wide padded shoulders. Here the
model wears a polka dotted V-neck blouse and jacket. She pairs
it with high-waited plaid trousers. She also carries gloves in one
hand, while wearing stud earrings, and wide brim hat. The model’s
face expresses the confident women of that era.
59
Fashionably Walking Your Dog Wearing Adolfo
Artist: Phil French
Date: 1980s
Client: Woodward & Lothrop, Washington, D.C.
Now we see an advertisement piece for the D.C. department store
chain Woodward & Lothrop, in it a woman wears Adolfo as she
walks her Dalmatian. It is a very refined look. She sports trousers,
a bow detailed blouse and a cardigan jacket. The look is completed
with strands of pearls and sun square sunglasses.
60
Off the Shoulder Fur
Artist: Phil French
Date: 1989-1990
Client: Szor Diener Furs Dallas, Texas
Szor Diener Furs were the major producer of furs for the southern
woman. During the time Phil French illustrated their advertising
campaigns, they had multiple locations in Texas, Louisiana and
Oklahoma. An elegant model poses with a fur shawl, gloves and
drop earrings.
61
Luxurious Fur Coat
Artist: Phil French
Date: 1989-1990
Client: Szor Diener Furs Dallas, Texas
This fur coat is A-line cut and it is belted around the waist.
62
Casual Confidence
Artist: Phil French
Date: Late 1980s
Client: Marie Leavell Shops Dallas, Texas
Model stands with her arms crossed and a relaxed stance. She
wears trousers, wide belt, white button-down blouse, a cardigan
sweater and stud earrings. This illustration depicts suburban
affluence.
63
Sophisticated Woman
Artist: Phil French
Date: Late 1990s
Client: Marie Leavell Shops, Dallas, Texas
Model wearing Lafayette 148 New York, she sits on the arm of
her chair in a demure pose. She wears a button-up tailored dress,
belted at the waist.
64
Casual Business Woman
Artist: Phil French
Date: Early 1990s
Client: Marie Leavell Shops, Dallas, Texas
Marie Leavell was a store chain in Dallas, which catered to a highend clientele. Marie opened her first store in the late 1930s after
the depression bankrupt her husband’s business. Neiman Marcus
was her major competitor. When Marie Leavell died in 1952, her
son John took over the business, which he ran until the early
1990s.
Above, a woman sits in a living room setting. She wears pinstripe
high-waisted trousers, a white silk blouse and an oversized belt.
A thick belt was commonly sported in this decade.
65
One Shoulder Gown
Artist: Phil French
Date: Late 1990s
Shoulder-strap ruched dress with same color clutch with black and
white Verdura cuff, ring and drop earrings.
66
Emerald Green
Artist: Phil French
Date: Late 1990s
A woman sits and poses wearing an emerald green dress. The
dress has a bodice and it is paired up with a black bolero-inspired
cropped jacket.
67
Rings
Artist: Phil French
Date: Early 2000s
This “presentation art” shows the circular jewelry designs that
closely resemble neck rings used to elongate the neck in certain
tribes. The rings are paired with metal and blue enamel earrings.
68
Max Mara Pantsuit
Artist: Phil French
Date: Early 2000
Woman sits casually in her pantsuit; the trousers are pleated and
wide-legged.
69
ABOVE: Ralph Lauren Dress, Fall/Winter Collection
Artist: Phil French
Date: Early 2000
Silk bias-cut gown. It is accessorized with bangles and small clutch
purse and drop earrings.
70
OPPOSITE: Woman in an Oversize Hat
with Matching Scarf
Artist: Phil French
Date: c. 1978
Client: Bullocks WIlshire, Los Angeles, CA
The floppy hat and loose matching scarf
might well have been illustrating a Halston
look of the mid-to late-1970s.
71
Other titles of interest :
SHARF
FASHION HISTORY
BOOK SERIES
Larry Salk: California Dreaming
and the Evolution of American Fashion Art: 1945-1965
Frederic A. Sharf with Susan Ward
Format: Softcover Pages: 64
ISBN: 1-882266-18-8
Style and the City: New York City Fashion Art
Two Decades of Advertising Drawings: 1955-1975
Frederic A. Sharf with Morton Kaish and Alexandra B. Huff
ISBN: 978-0-9818865-6-5
Fabric/Figure/Fantasy
Five decades of American fashion drawing (1940s-1980s)
Alexandra B. Huff and Frederic A. Sharf
with Phil French and Morton Kaish
Format: Hardcover Pages: 104
ISBN: 978-0-9839573-1-7
72
American Fashion Art 1960-1990
Three Decades of Advertising Drawings
Frederic A. Sharf with Susan Ward
ISBN: 978-0-9818865-3-4
The Fashionable Nurse
A Study of Stylish Professional Dressing, 1910-1970
Frederic A. Sharf with Catherine Pate & Jill Carey
ISBN: 978-0-9839573-5-5
Exploring Fashion
The Art of Kenneth Paul Block 1960-1990
Susan Mulcahy with Frederic A. Sharf
Format: Hardcover/Softcover Pages: 64
ISBN: Hardcover: 978-0-9818865-7-2
Softcover: 978-0-9818865-8-9
John Bates: British Fashion Designer
The Sensational Years, 1963-1968
Frederic A. Sharf with Michelle Finamore
Format: Hardcover/Softcover Pages: 64
ISBN: Hardcover: 978-0-9839573-6-2
Softcover: 978-0-9839573-7-9
Beauty as Duty
Textiles on the Homefront of WWII Britain
Alexandra B. Huff with Frederic A. Sharf
ISBN: 978-0-9839573-0-0
The Lifestyle of New York Cafe Society, 1935-1950
as Drawn by Jaro Fabry
Frederic A. Sharf
ISBN: 978-0-9839573-8-6
Louis Féron Master Jeweler 1901-1998
Paris, Costa Rica, New York
Emily Banis Stoehrer and Frederic A. Sharf
ISBN: 978-0-9839573-4-8
.
Brian Stonehouse, MBE: 1918-1998
Artist, Soldier, War Hero, Fashion Illustrator
Frederic A. Sharf
ISBN: 978-0-9903152-1-6

100 F a years of

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