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LOOKING FOR A HOT INVESTMENT TIP? TRY COLLECTING FASHION ILLUSTRATIONS

Francesca Sterlacci - March 14, 2021 - Designer FashionSpeak

Fashion Illustration by Roberto Calasanz

It has long been debated whether fashion illustration should be considered art. Through the decades, the value and appreciation of fashion illustration has risen and fallen with societal shifts. However, according to fashion curator Connie Gray of London’s Gray M.C.A. gallery, “there seems to be a heightened interest with anything that is associated with the great designers, particularly of the 20th century like Dior, Balenciaga or Chanel in Europe, or in America, anyone from Donna Karan, to Bill Blass, to Halston,” as reported by WWD. (read our February 7 ^th blog).

In that same article, Gray proclaimed that she “expects American fashion illustrators from the latter half of the 20th century to be the next group to begin to increase their prices. At the moment, the focus continues to be on work from the Forties, Fifties and Sixties,” she said, adding that “work by René Gruau could garner anywhere from $10,000 to $50,000.”

A Sotheby’s spokeswoman said “she didn’t think the company has the right specialists to discuss the subject.”

And yet, the work of famed illustrator Antonio Lopez, arguably the most important fashion illustrator of the 20^th century, currently commands from $16,100 to nearly $27,000 per illustration, and Kenneth Paul Block’s work has sold in the $12,000 to $15,000 range.

Here at UoF, we not only believe that fashion illustration IS fine art, but we encourage, feature and promote the best fashion illustrators in the industry. It is therefore with great pleasure that I dedicate this blogpost to Roberto Calasanz, who has generously shared his fashion illustration techniques and his many talents with our students in 38 video lessons.

Roberto Calasanz in his studio with his illustration of Valentino S/S 2018 for Amazing Magazine

Left: Valentino Runway Spring/Summer 2018
Right: Illustration by Roberto Calasanz for Amazing Magazine

To all of the aspiring fashion illustrators out there, I thought you might like to hear from Roberto himself on his personal journey into the world of fashion illustration. Enjoy:

Francesca: At what age did you know you wanted to be a fashion illustrator?

Roberto: As far back as I can remember, I knew I wanted to be an artist, a painter, a maker. I would spend hours sketching when I was a kid. The heyday of fashion illustration was the 1980s; there was so much amazing talent out there, and I was influenced by a lot of illustrators. But the one that stood out, who guided my hand and shaped my aesthetic the most, was the Puerto Rican illustrator, Antonio Lopez. By the time I reached my late teens, I started to think seriously about pursuing a career in fine arts and design. I knew that fashion design was a great discipline to develop my skills, so I submitted my portfolio to Altos de Chavon School of Design in the Dominican Republican affiliate of Parsons, here in New York—and the next thing I knew, I had a scholarship and was studying with some of the best artists in the country. And this led to being awarded a grant to finish my studies at Parsons, which is how I ended up in New York, and eventually working as a designer on Seventh Avenue, in the New York Garment District.

(Fashion illustration by Roberto Calasanz)

(Fashion illustration by Roberto Calasanz)

(Fashion illustration by Roberto Calasanz (Méndez) for B & J Fabrics)

Francesca: Who encouraged you to pursue your dream?

Roberto: First my mother, who had an eye for fabrics, and who was an avid reader of fashion magazines—an interest in fashion runs in the family; I come from a long line of tailors on my mother’s side. And once I began my studies at Altos de Chavón, I was surrounded with support from fellow students, and especially from my teachers—one of whom, Julia Santos Salomon, by the way, was a good friend of Antonio Lopez. The school has an amazing collection of Antonio originals, because for several years he would come and teach illustration workshops at the school. In fact, when Antonio passed of AIDS in 1987, the head of the fashion program at the time, James Miller, entrusted me with helping to preserve his personal collection of Antonio’s work. The opportunity to handle these originals was a huge inspiration for me. From there, I was rewarded a subsequent grant to finish my studies at Parsons in New York. And I’ve been here pretty much ever since!

(Fashion illustration by Roberto Calasanz)

Francesca: You worked for many fashion houses, which one gave you the most creative freedom?

Roberto: I got my first job as an illustrator when I was still a student at Parsons. Roberta Freymann hired me to render her legendary knitwear, those novelty sweaters with all that cable work, ribs, pom poms, and intricate stitch patterns. So that was a challenge! Over the years, I worked for designers across the board, like Randy Kemper, Nili Lotan, Harvé Benard, Ralph Lauren RLX, Calvin Klein, Liz Claiborne, and Rogelio Velasco Couture—but I’ve also illustrated interiors, linens, and home décor for companies like Donghia and Waterford Beds. Collaborating with different designers is always a learning experience— I love the challenge of capturing a designer’s personal vision in a medium such as marker or gouache. This is best achieved when the signature style of the illustrator—silhouette, line, gesture, technique—resonates with the particular attitude and mood that the designer envisions. At RLX, for example the mood was rugged outdoors, but the challenge was to infuse the low-tech lumberjack look with high-tech finishes and forward-thinking design.

(Roberto Calasanz for Ralph Lauren RLX)

(Roberto Calasanz for Calvin Klein)

(Roberto Calasanz for Calvin Klein)

(Fashion illustration by Roberto Calasanz for Rogelio Velasco Couture)

Francesca: What advice do you have for aspiring fashion illustrators?

Roberto: The advice I offer my students and young designer/illustrators I mentor, is that fashion illustration is a language, and to become fluent in this language requires training. You need to train not only your hand, but also your eye and your mind. Refining your hand, line, technical skill takes practice, and as an illustrator you will be expected to render any fabric and to capture its unique properties. Each fabric embodies its own particular movement, qualities and character, whether it’s stiff like silk taffeta, or liquid, like silk charmeuse. In the beginning it is helpful to practice by imitating the work of other illustrators or artists that inspire you. Which is why I believe it is essential to simultaneously train your eye by familiarizing yourself with a wide range of artists, designers and illustrators, to know and be inspired by what has been done, as well as to be on the pulse of what is being done in the field right now. Knowledge of the history of fashion and aesthetic developments in the world of art trains your mind and prepares you to develop a unique and refined personal style.

Left: Valentino S/S 2018 Runway
Right: Fashion Illustration by Roberto Calasanz for Amazing Magazine

Fashion Illustration by Roberto Calasanz of Valentino S/S 2018 Collection for Amazing Magazine

Fashion illustration by Roberto Calasanz of Rick Owens F/W 2018 Collection for Amazing Magazine

Fashion illustration by Roberto Calasanz of Rick Owens 2018 Collection for Amazing Magazine

Fashion illustration by Roberto Calasanz of Rick Owens F/W 2018 Collection for Amazing Magazine

(Fashion line sketches by Roberto Calasanz)

(Roberto Calasanz illustrations for Norman Norell)

(Roberto Calasanz, Rendering Demo for students)

Click on this link to see a list of Roberto’s lessons on the University of Fashion website https://www.universityoffashion.com/instructor/roberto-calasanz/

Check out Roberto’s IG @demainny

The Power & Beauty of Fashion Illustration

Francesca Sterlacci - February 7, 2021 - Fashion Art

University of Fashion’s mission, from day one, has always been, ‘to preserve the art and craft of fashion design.’ In fact, since the company’s founding in 2008 our tagline has never changed, “Master Design One Step at a Time.” Sure, we’ve added computer-generated fashion art and computerized pattern making lessons over the years, but at our core, we’re all about promoting a strong foundation, both ‘on-the-table’ pattern making and in ‘hand-drawn art’ before we recommend moving to anything computer-generated.

In this blogpost, we’d like to celebrate fashion illustration and its continued contribution to the world of fashion. We are extremely proud to share that our founder, Francesca Sterlacci, who owned and operated her eponymous brand in the 1980s, was lucky enough to have her work illustrated by THE most prolific WWD illustrators in what is now known as the ‘Golden Age of Fashion Illustration’ (1960s to the early 1990s).

As you admire the work of these illustrators, we’d like you to pay particular attention to the individual illustrative style of each and join us in celebrating their individual and unique talents.

Enjoy,

Francesca Sterlacci
Founder/CEO
University of Fashion

You can only imagine how over-the-moon excited we were when Women’s Wear Daily recently dedicated a week to the most prolific fashion illustrators who brought fashion to life on their pages before they replaced illustration with photography in the early 1990s. Although WWD incorporated fashion illustration from its inception in 1910, it was the 60s thru the early 90s that best describes the paper’s Golden Era of Illustration. WWD provided a showcase for some of the best illustrators in the fashion business and this blogpost is dedicated to those wonderful artists. Included in this group: Kenneth Paul Block, Antonio Lopez, Joe Eula, Richard Rosenfeld, Steven Stipelman, Robert Melendez, Robert Passantino, Glenn Tunstull, Kichisaburro Ogawa, Charles Boone, Steven Meisel and Catherine Clayton Purnell.

Kenneth Paul Block

(Image credit: Kenneth Paul Block illustration of a lace bodysuit and silk organza pants by Francesca Sterlacci-WWD 1988)

As a designer in the 1980s, having your designs chosen for WWD’s Best of New York issue was always a big deal, no matter how many times you were lucky enough to be included. And, if your work was illustrated by Kenneth Paul Block, well, that was an even bigger deal!

By far, Kenneth Paul Block (1925-2009) was the undisputed star of WWD’s roster of fashion illustrators. From all accounts, he was in a league of his own. Joining the paper in the 50s, Block’s legacy lasted into the early 90s when the illustration department at WWD was unceremoniously disbanded to make way for photography. Block’s style was uncomplicated, modern and fresh. A master of the graceful gesture, his style was a complete departure from the rigid illustrative style popularized in the 1940s.

(Image credit: archival image from 1940s illustrations)

According to WWD, Block was “known for his well turned-out, gentlemanly style, with his Dorian Gray-like youthfulness, Block dressed impeccably, favoring an ascot, fresh-pressed shirt, pinpoint perfect jackets and cigarette holders for his workdays at the easel. The artist, who died at age 84 in 2009, spent nearly four decades working at Women’s Wear Daily.”

Towards the end of his life, Block was very concerned that his body of work

be kept together and therefore gave approximately 1,700 drawings to the Museum of Fine Arts in Boston. His work is also a part of the Frances Neady collection at the Fashion Institute of Technology which contains over 300 illustrations by the most prominent 20th-century illustrators. The Frances Neady collection is named for an inspiring and dedicated teacher of fashion illustration, who served on the faculties of FIT and Parsons for 40 years.

Upon his death, the Kenneth Paul Block Foundation was established and is devoted to collecting, preserving, exhibiting and interpreting the wealth of Kenneth Paul Block’s art, in order to highlight his contributions to the art form.

Robert Young

(Image credit: Robert Young illustration of a tiger print top and skirt by Francesca Sterlacci-WWD 1985)

Another favorite among New York designers was Robert Young. His style always brought out the best in your design. Today, Robert Young is an Assistant Professor of Illustration at Pennsylvania College of Art & Design in Lancaster, Pennsylvania. As is the case with most artists, Robert Young’s style and breadth of work has expanded with the times.

Be sure to check out his “Hello, Young Illustrators” portfolio series. https://www.youtube.com/watch?v=KGDfewj-V6Q which is especially helpful during the pandemic.

Robert Passantino

(Image credit: Robert Passantino illustration of a peplum blouse and pleated skirt by Francesca Sterlacci-WWD 1987)

As a fashion illustrator, Robert Passantino knew the value of actually learning the basics of clothing design and construction and how that would benefit his career when he started his career at Pratt Institute. He would later take illustration classes under Steven Stipelman at the Fashion Institute of Technology, who later would recommend him for a position at WWD in 1969.

In the recent article, Passantino told WWD “I developed my style on the job. It was a fashion art boot camp. As an artist, the more you work on your art, the better you become.”

Charles Boone

(Image credit: Charles Boone illustration of a suede pants and leather tube top by Francesca Sterlacci-WWD 1987)

Kichisaburo Ogawa

(Image credit: Kichisaburo Ogawa illustration of a wool doubleknit dress and wide cinch belt by Francesca Sterlacci-WWD 1987)

Three days after graduating from FIT, Kichisaburo Ogawa went to work for WWD where he would spend the next 31 years illustrating fashion both at the paper and for numerous international magazines. In discussing what it was like to be an illustrator at WWD in those days Ogawa said, “Depending on the assignment, work was either due by the 2 p.m. deadline or the 6 p.m. deadline. After the daily editorial meeting, an editor would provide a designer’s sketch to draw from and the work would be due that same day. On some occasions the illustrator would be given a few extra days contingent on the article or the subject matter. A cosmetics cover, for example, was used for supplements, which allowed for more leeway with a longer deadline. Most of the time we had to finish within a few hours.” He also claimed that “You had to create your individual style. Otherwise, they would think, ‘Why are you doing the same type of illustration? You don’t need to work here.”

Later in his career Ogawa connected with another WWD fashion illustrator, Richard Rosenfeld, who was his office mate when they both taught at FIT. Today, Ogawa is an assistant professor at Parsons.

Steven Meisel

(Image credit: Steven Meisel illustration of a leather T-shirt by Francesca Sterlacci-WWD 1982)

Steven Meisel started out as a WWD fashion illustrator in the 80s but made the move to photography when he saw a shift away from illustration coming. In fact, famed fashion illustrator Bil Donovan took an illustration class at Parsons taught by Meisel in the Eighties right before Meisel embarked on his very successful photography career.

(Image credit: Bil Donovan illustration of a leather coat trimmed in tapestry by Francesca Sterlacci for Siena- 1991)

Catherine Clayton Purnell

(Image credit: Catherine Clayton Purnell illustration of a metallic leather trimmed linen shirt paired with a leather skirt by Francesca Sterlacci WWD 1985)

One of only a handful of females in a sea of male fashion illustrators at WWD, Purnell was most known for her colorful fantasy-filled intimate, children’s and swimwear illustrations in the 80s.

(Image credit: Catherine Clayton Purnell from the book WWD Illustrated: 1960s-1990s by Michele Wessen Bryant)

Steven Stipelman

(Image credit: Steven Stipelman illustration of draped back blouse and leather skirt by Francesca Sterlacci 1985)

With a passion for illustration that began at Music & Art high school in Manhattan and continued awhile a student at FIT, Stipelmen would land a plumb job alongside Kenneth Paul Block at WWD in 1965. While most artists at WWD worked from a designer’s sketch when illustrating for the paper, Block and Stipelman would mostly work from live models and were sent to Paris to draw from the runways. Today, Steven Stipelman is a full professor at FIT.

Richard Rosenfeld

(Image credit: Richard Rosenfeld for WWD)

(Image credit: Richard Rosenfeld)

While UoF founder Francesca never had the honor of having Richard Rosenfeld sketch her designs during his tenure at WWD, we are fortunate in that he is one of our very own instructors on the UoF site, Congratulations to Richard for being included among this elite WWD group.

Richard Rosenfeld found his way to WWD as a student at Parsons in 1967. His illustration style has always been contemporary, graphic and modern and is most famous for his beauty and bridal illustrations. His illustrations often made the gowns more beautiful than they actually were in real life!

(Image credit: Richard Rosenfeld for WWD)

Today, Richard focuses on portraits and male figurative art and exhibits his work at the Leslie-Lohman Museum of Art in New York’s SoHo neighborhood, which showcases gay, transsexual and lesbian art. According to Richard, the art featured at the gallery is “political, it’s photography — it’s all of that.”

(Image credit: Richard Rosenfeld)

Can Fashion Illustration Make a Comeback?

At the onset of the pandemic in March 2020, art and photo teams at WWD had to rely heavily on illustration and collages to cover fashion, as New York City went into lockdown and shoots were impossible to schedule. A small glimmer of hope for the fans of fashion illustration?

At University of Fashion, we are ardent supporters of helping keep fashion illustration alive, which is why we have recruited some of the best illustrators in the business, Richard Rosenfeld, Steven Broadway and Roberto Calasanz. These extremely talented artists have generously shared their secrets by allowing us to film their art and skill in action. Watch as they bring a 2D sketch to life. It’s pure joy!

And so, to all of you aspiring fashion designers out there who love to illustrate, don’t let the digital age get you down, keep on perfecting your craft. Remember, practice makes perfect!

Let us know, do you have a favorite fashion illustrator?

Fashion Art: Drawing and Illustration

Francesca Sterlacci - August 14, 2013 - Fashion Education

French Fashion Plate: 1880

Fashion Art is the process of visualizing your design ideas through the medium of fashion drawing. The art of fashion drawing dates back to the sixteenth century, much before Vogue, Harper’s Bazaar, blogs, and ‘costume’ books depicted regional and ethnic dress. From the seventeenth century through the nineteenth century, France and England produced a multitude of fashion magazines containing fashion illustrations. Among the most proliferate were Lady’s Magazine, Godey’s Lady’s Book, La Belle Assemblée, Ackerman’s Repository of the Arts, Le Cabinet des Modes, & Gallery of Fashion. Within these early magazines, fashion plates depicted the latest fashion trends of the times.

Fashion Industry’s Top Recruiter: Sue Lamoreaux

Francesca Sterlacci - July 24, 2023 - Current Topics in Fashion, Fashion Education, Fashion Tips, New York Garment District

Sue Lamoreaux – Managing Director at Solomon Page (Image credit: Solomon Page)

If you have been working in the fashion industry for a while, then you probably already know that the best executive recruiting firm is Solomon Page. And, if you’re lucky, you may have already met Sue Lamoreaux, one of the founding members of Solomon Page.

This week’s blog is dedicated to Sue, who is celebrating her 32^nd year with SP. She has been placing candidates in roles ranging from Presidents, VP’s, Directors, Chief Commercial officers, Supply Chain, Marketing leads, Global Sourcing, ECommerce, Chief Digital, General Managers (GM’s), Product Development, Creative Directors, in addition to strategic mid-level positions across all disciplines in the fashion industry.

In 2022, and for the sixth year in a row, Forbes named Solomon Page as one of America’s Best Professional Recruiting firms.

I have personally known Sue for years, ever since I was chair of the Fashion Dept. at FIT. Sue regularly gave of her time critiquing, advising and guiding graduating students on their portfolios, resumes and interview preparation (she has been doing the same for Parsons for the past 10 years).

Recently, I had a chance to sit down with Sue to talk about the job market, current and future hiring trends in the fashion industry, and how the industry is utilizing University of Fashion for upskilling its personnel. Sue is a treasure trove of information, and I am thrilled and honored that she has agreed to share her knowledge with us. Here goes:

Francesca: What are the main jobs you recruit for in the fashion industry?

Sue: I recruit Design Directors, VP of Design, Creative Directors, Merchandising, Planning, Digital Marketing, Brand Marketing, Ecommerce, Technical Design, Sales, Global Sourcing /Production, Supply Chain/Operation. These would be the most frequent, but there are plenty of other titles and categories in Fashion that I place.

Francesca: Can you give salary ranges for each job?

Sue: This is a tricky question since the salaries vary from city/state, companies, associated benefits packages, a job’s specific responsibilities, if it’s hybrid or on site (salary adjustments post Covid). The hot topic right now is salary equity for those who are back in office versus those who are permitted to remain remote or hybrid (as commuting and tax situations can result in cost differences). I have found that many candidates are assuming that they will still have the option to be hybrid or remote when seeking a new job, but the majority of New York area companies have a return to office directive and new employees will especially have even less flexibility than most. It’s always best to ask upfront about specific related policies, since this is not a negotiating point for most companies.

Francesca: How important is going to a fashion school for someone looking for a job as a designer, a product developer, etc.?

Sue: Very important… Some companies even have a baseline requirement for a bachelor’s degree, or at least an associate’s degree, and there are many competing candidates who have master’s degrees that you will be competing with for candidate selection. But the relevant skills are still critical in your application.

I know many graduates of design schools who needed supplementary technical construction training, since many of the schools don’t spend enough time in the semester honing the craft. I always recommend taking that needed course with University of Fashion so you can be confident in your skills. Prospective employers expect you to know garment construction and specs before you start working and not to be learning/teaching on the job.

Francesca: Are there certain fashion schools that employers value most? And why?

Sue: There’s a wide variety… FIT, Parsons, CSM, SCAD, Otis, RISD, Kent, Marist College, University of Cincinnati, among others. Sometimes it’s the knowledge and endorsement of the faculty, or the hiring manager is an alumnus, or sometimes it has to do with the way the programs are structured, and they know the students have worked substantive internships all 4 years. Companies like when they can hire a graduate who has had work experience at a brand they know. Or even stay on part time during the school year, post working in the summer of junior year work experience. Brand experience matters much more than a study abroad program your junior year of college, if you are weighing out whether or not it’s worth it or will make a difference in your application.

Francesca: For product development positions, do companies require hands on knowledge of on-the-table skills such as pattern making, sewing, and draping?

Sue: Yes, it’s very important for product development people to have foundational knowledge of garment construction. Many times, they are involved in the fit sessions and it’s important when they are looking at cost, fabric capabilities, what will work, and offering options/alternatives for better pricing etc. Sometimes companies forgo the designer and just have a product developer who could be creating private label for their accounts and are adapting and modifying garments for the client. They don’t always need to sketch, and many times have a great overseas partner to work with.

Francesca: How important is a portfolio in a job search?

Sue: A designer must have a portfolio; a pdf of work that is ready to go (and can be edited easily) and/or a website that is easy to access. Remember, many may be looking at your website from their phone, so be sure it’s easy to view from a mobile device.

Francesca: Can you provide insight into what should be included in a portfolio for a design position?

Sue: It should be comprised of several components: Trend/aspirational boards showing images, color, fabric and details. Illustrations are important, flats and something technical to show you can execute a tech pack. Additionally, computer work, Photoshop, illustrator is a baseline requirement for everyone! As soon as your work is being viewed, it takes an experienced hiring manager seconds to determine if he/she connects with your style, your brand messaging, and your technical accuracy. If they don’t connect, you probably won’t be asked to interview.

View UoF’s 9-part series on how to plan a stellar portfolio:

Francesca: How in demand is 3D design education in the industry?

Sue: Some companies have invested heavily in it and will only interview candidates who have been trained on it, since it’s expensive for them to train you and you will have a transition of time before you are proficient. So, if you have the opportunity to learn it, it’s in your best interest to learn it!

Francesca: Is agism a ’thing’ in the fashion industry?

Sue: Age and experience are not something to hide! Experienced people are the managers and leaders of companies. VP level, SVP, Chief, President, CEO’s all need experience in order to have earned that position. With that said, it is critical to stay up to date on key technology skills and things like industry trends and purchasing habits. Continuing to educate yourself ensures and protects your longevity in the industry.

Francesca: How hard is it for someone right out of school to get a job?

Sue: Right now, the hiring market is soft, but people who have work experience during college and have standout work in their portfolios, the right skills companies are in need of, and are seeking work in the growing disciplines, they are still getting jobs. If you don’t get hired full-time, see if you can get an entry level freelance job so you can earn some work experience and brand to document.

Francesca: What advice would you give someone who is thinking about a design job in the fashion industry?

Sue: Get your education at the best place you can, be sure you work during school and set your expectations realistically. You may not ultimately be a runway designer, but you could just as valuable as a technical design/patternmaker, who is the right hand to the Design Director. (i.e.: if the garment doesn’t fit, the customer isn’t buying it!).

University of Fashion’s lesson: Creating a Swim Bottom Tech Pack in Illustrator

Francesca: How can working with a recruiter help me in my job search and where can I go about making those contacts?

Sue: Working with an experienced recruiter is a huge plus, but not every company will pay for the service. Many companies post jobs on their own website and LinkedIn. Entry level jobs are infrequently listed with recruiters and are addressed internally, generally. Sometimes I will get an entry level assignment because the internal recruiting has been unsuccessful, so always ask.

If you are able to work with a recruiter for a particular search the benefit will be that you will have guidance for interview preparation, portfolio recommendations, resume tips, salary negotiation assistance, etc. Honesty, it is very important in this partnership. Please know that if you have already submitted your resume to a company on your own, your recruiter will be blocked from representing you for that role.

Francesca: What are some things I should be sure to highlight in my resume, cover letter, and portfolio that employers look out for? And how can I make myself stand out to an employer when I am one of so many candidates applying for a role?

Sue: They look for relevant experience to their brand identity and the specific position they are recruiting for. Research the company and say something about them. Look at their job post. For example, if they want 3D experience and you don’t have it, you probably won’t get flagged to interview. Or if your portfolio work is so different than their aesthetic, you may not be selected.

Francesca: What advice would you give to someone going on an initial interview?

Sue: Remember, first interviews are still predominantly video. Be prepared for that. Make sure that you can upload everything smoothly and quickly while you are speaking. Be sure to load whatever video format the company is using to your computer well before the interview, so it’s ready to go (I have 5 different brands loaded on my computer, so don’t assume that everyone uses, Zoom) And of course the obvious, research the company!

Be sure to subscribe to the Solomon Page Blog, where you’ll find lots of free tips:

Francesca: What is your outlook for the future of employment within the fashion industry? Which sectors do you predict will grow and which do you think may decline?

Sue: Marketing is still the biggest department for fashion companies. Looking for work in this area and all of the subsets (i.e., brand marketing, digital marketing, performance marketing, social, ecommerce, communication, etc.) gives you a better chance of finding work. Some departments, such as sales, have shrunk (but not gone away) as more companies are direct-to-consumer (DTC), although there still is a need for good salespeople to be represented in a brick & mortar setting.

Many thanks to Sue for sharing her expertise with our UoF subscribers and followers. Here is Sue’s contact info should you want to thank her yourself:

Susan Lamoreaux

Solomon Page

P (212) 824-1580 x2582

C (908) 451-5537
in Connect with me

WEBSITE LINKEDIN FACEBOOK TWITTER INSTAGRAM

Spotlight on Sustainable Designer: Eudora Tucker

Francesca Sterlacci - July 2, 2023 - Current Topics in Fashion, Designer FashionSpeak, Fashion Business, Fashion Innovation, Student Spotlight, Sustainability, Women in Fashion

Eudora Tucker – New York City sustainable fashion designer (Image credit: Eudora Tucker)

This week’s blogpost is dedicated to Custom Collaborative’s latest success story, NYC-based sustainable fashion designer, Eudora Tucker. But first, a bit about Custom Collaborative (CC).

Custom Collaborative is a Harlem-based non-profit 501(c)(3) founded in 2015 by Executive Director Ngozi Okaro. The organization provides free training and ongoing support for women from low-income and immigrant communities through their entrepreneurship and workforce-development programs. Their Training Institute teaches the art, craft and techniques used in sustainable garment-making, as well as ethical business practices in the fashion industry.

CC’s mission is to help women professionalize their sewing and design skills, overcome barriers to employment, and, ultimately, bring greater equity and inclusivity to the business of fashion.

University of Fashion partnered with Custom Collaborative in 2020, gifting full access to our fashion education content library. Since then, Custom Collaborative has graduated 10 cohorts of ‘fashion-preneurs’ who are making their mark by starting their own sustainable fashion brand.

Last week, I had the chance to interview Eudora and learned about her studies at CC, her design philosophy and her career aspirations. Here goes:

Eudora Tucker’s Graffiti dress (Image credit: Camila Falquez)

Francesca: Tell me about your journey into fashion. Are you NYC born and raised?

Eudora: I was born and raised in Brooklyn. As a Native New Yorker, fashion has always been on my radar. I knew I wanted to be a fashion designer early on and attended The High School of Art and Design to study fashion illustration and then went on to study at FIT. Unfortunately, life happened, forcing me to pivot, but fashion has always been a huge interest. I started seriously getting back into fashion when my idol, Prince, died in 2016. As a lifelong fan, I was devastated when he passed away and I started making Prince themed jean jackets and outfits as a tribute to him. I wore them to different Prince related events that I attended. People seemed to love and admire my designs and complimented me on my creativity. That reignited my passion and pushed me to seriously pursue my dreams of being a fashion designer again. I was hand sewing and using adhesives to create my designs, which meant there were constant repairs and maintenance needed. I knew finding sewing classes would be the next step if I wanted to seriously start making custom designs for others.

Eudora Tucker’s Embellished Purple Vineyard Jacket (Image credit: Eudora Tucker)

Francesca: Can you tell me about the program at Custom Collaborative? How rigorous was it and what types of things did you learn?

Eudora: The program is a 15-week course that meets Monday through Friday from 9am to 3pm. It was a serious commitment, and it was truly intense. I had never used a sewing machine before so when our instructor, Delia Alleyne, showed us how to thread the needle on the first day, my head nearly exploded. I didn’t think I would ever be able to thread the machine, let alone sew something together. Fear and self-doubt overcame me, and I was questioning why I ever signed up. Delia encouraged and helped us overcome our fears and by the end of the day, I was able to successfully thread my machine. I knew it was going to be a tough road ahead, but I was up for the challenge. During those 15 weeks there were many tears shed out of frustration, but also with happiness when I was able to get through another tough lesson. In the end I completed the course with the ability to design and sew; a portfolio of work including illustrations for two collections, which included inspiration, mood and fabric boards; an awesome business plan that I wrote, and most importantly, the knowledge and confidence to go forward in pursuit of my dream.

Eudora Tucker’s Rocket Man Jacket (Image credit: Eudora Tucker)

Francesca: How were the University of Fashion lessons utilized at CC?

Eudora: We constantly referred to the University of Fashion lessons while studying. We used them to reinforce lessons that Delia taught us and to complete projects on our own. I am a visual learner, so it was a tremendous help and resource for me. The videos that were the biggest help were the lessons on the invisible zipper, pattern making and layout, and draping. These were life saving for me. Due to time constraints, and the amount of projects we covered, it was impossible to learn and complete everything in class. The videos allowed us to review the task, step by step, on our own time to complete the projects correctly.

Eudora Tucker’s Incomparable Lady Day Shirt Dress (Image credit: Eudora Tucker)

Francesca: Can you tell me about your capstone project at CC?

Eudora: My capstone project was a hand painted, full length gown with a train. My design was inspired by the feelings of fear, uncertainty and sense of lawlessness in NYC post Covid-19. With the closing of so many businesses, the graffiti artists had once again transformed our city’s landscape with their artwork, reminiscent of the late 1970s and 80s. Using donated fabric that I treated to create the Ombre effect, the design ascends from darkness to light, reflecting the transitioning of Oppression and Anarchy, rising out of Out Rage and Despair, through Faith and Unity, to ultimately arrive at Love and Peace. My design was chosen as the finale of Cohort 9’s graduation runway show and was also featured in both Vogue Business and Harper’s Bazaar articles. Not only were these very proud moments for me, but they also serve as a testament that my perseverance and hard work are truly paying off.

Eudora Tucker’s Queen Bee Jacket (Image credit: Eudora Tucker)

Francesca: What made you want to focus on upcycling and sustainable design?

Eudora: Custom Collaborative is an organization that is built on the principles of fashion sustainability. I never heard of fashion sustainability and, to be honest, I was a consumer of fast fashion without even knowing it. I had never heard of the term “fast fashion” until I came to Custom Collaborative. Once I found out what it was and how it affects the planet; coupled with the unfair labor practices that affect the seamstresses that work in the factories, I quickly got on board. I started changing my purchasing habits and decided to focus on upcycling and sustainable design. I truly enjoy taking a “pre-loved” garment and repurposing it into something new and creative. It allows me to create one of a kind, statement pieces that make my clientele feel special when they wear it.

Eudora Tucker’s Dear Mum Jacket (Image credit (Eudora Tucker)

Francesca: What is the hardest thing about being a sustainable fashion designer?

Eudora: The most challenging aspect of being a sustainable designer is figuring out how to alter an existing garment. When you are locked into a design it is sometimes hard to come up with creative ways to change the garment to fit your new design. You have to use your imagination and become an out-of-the box thinker and really think about the techniques to use in order to execute your new design with the least amount of complication and in a timely manner.

Eudora Tucker’s Ode to Jean-Michele Jacket (Image credit: Eudora Tucker)

Francesca: What is your ultimate goal, or goals, as a designer in the fashion industry?

Eurora: I would like to continue creating one-of-a kind statement pieces and growing my fashion sustainability brand, Princess Arabia’s Atelier. I also plan to partner with environmental agencies in NYC to offer fashion sustainability workshops to teach others what they can do to reduce their carbon footprint through more mindful fashion practices. My ultimate goal is to travel around NYC and neighboring states to educate as many people as possible and bring awareness on how the fast fashion industry continues to proliferate the amount of waste in our landfills and how it is fueling the profound negative effects of climate change. This is my small way of giving back to the planet and carrying out my duty as a good global citizen.

Follow Eudora on Instagram: @princessarabia9

Eudora Tucker’s The Rainbow of it All Vest (Image credit: Eudora Tucker)

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JUNETEENTH: Celebrating African American Quilters & Creatives

Francesca Sterlacci - June 18, 2023 - Current Topics in Fashion, Fashion Events, Fashion History, Fashion Innovation, Festival Season

(Image Credit: Louisville Black Creatives – Facebook.com)

Juneteenth marks the day when General Gordon Granger of the Union Army strolled into Galveston, Texas on June 19, 1865, to announce that the last of the 250,000 remaining enslaved people in the Confederacy were freed from the shackles of slavery, two years after the Emancipation Proclamation.

To celebrate Juneteenth, this week’s blogpost is dedicated to African Americans artisans, both past and present, who use their creativity to tell stories through the art of quilting. We will also highlight African American quilters and artisans who, through textiles and handcraftsmanship, are modern-day griots, these creatives are continuing the tradition of African tribal storytelling to preserve the genealogies and oral traditions of their culture.

Fashion has always held an important role in the evolution of mankind, whether to express status or as a vehicle for social change. But the art and craft of fashion, specifically quilting, has held an even deeper meaning for the African American community and is as almost as old as the history of America.

One of the first enslaved African women to be officially recorded in the colony of Virginia in 1619 was Angela (likely born in present-day Angola). Angela is considered one the ‘First Africans” and like many Black women to follow, were charged with spinning, weaving, sewing, and quilting on plantations for their enslavers, while often weaving their own family’s clothing to keep warm and survive.

Over time, some African American household slaves became highly skilled in creating quilts and while very few examples of these early quilts survived due to the heavy wear they received, what was initially a tool of oppression became an expression of liberation.

Hidden in Plain View by Jacqueline L. Tobin and Raymond G. Dobard

UNDERGROUND RAILROAD QUILT CODES

The Underground Railroad (UCRR) was a network of people and places that assisted southern slaves escape to free states in the North and Canada prior to the start of the Civil War in 1861. According to legend, a safe house along the UCRR was often indicated by a quilt hanging from a clothesline or windowsill. These quilts were embedded with a kind of code, so that by reading the shapes and motifs sewn into the design, an enslaved person on the run could know the area’s immediate dangers or even where to head next.

In the book entitled, Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad, the authors reveal how enslaved men and women made encoded quilts and then used them to navigate their escape on the Underground Railroad. Quilts with patterns named “the Charleston Code,” “wagon wheel,” “tumbling blocks,” and “bear’s paw”, contained secret messages that helped direct slaves to freedom.

Example of a Charleston Code Quilt – helped navigate slaves to freedom via the Underground Railroad

When slaves made their escape, they used their memory of the quilts as a mnemonic device to guide them safely along their journey. For example: a bow tie meant “dress in disguise to appear of a higher status; a bear paw was an instruction to “follow an animal trail through the mountains to find water and food; and a log cabin warned “seek shelter now, the people here are safe to speak with”.

Example of a Log Cabin quilt with an embedded code to help slaves to freedom.

At the end of the Civil War, African American women continued telling their stories through quilting, maintaining the long-standing cultural significance and its profound roots of ‘woven’ resistance. For more on the history of African American quilting as folk-art visit: http://www.womenfolk.com/quilting_history/afam.html

HARRIET POWERS

Harriet Powers 1837-1910 (Image credit: Museum of Fine Arts Boston)

Born into slavery in Athens, Georgia in 1837, Harriet Powers created quilts once she was emancipated. She used quilting as a catalyst for change and to inspire conversations about race. Her storytelling quilts made use of appliqué techniques and the textiles of Western Africa and are notable for her ability to transmit, through the fabric, her religious faith depicting biblical stories, local events, and celestial occurrences. Powers debuted her first exhibit in 1886 at the Cotton States and International Expo.

For much of the 20^th century Powers was erased from the art historical canon, but today she is deservedly considered one of the most accomplished quilt makers of the 19^th century.

Only two of Powers’ story quilts have survived: the Bible Quilt which hangs in the Smithsonian Institution and her Pictorial Quilt which is on display at the Museum of Fine Arts in Boston.

Harriet Powers – Bible Quilt circa 1886 (Image credit: Smithsonian Institution)

Weaving scraps together became a metaphor for threads of resilience stitched together to preserve remnants of culture, faith, and hope in the African American community. Though often not attributed with bringing the tradition of quilting to the U.S., Black women are among the originators of today’s needle and thread technique.

From navigating the Underground Railroad to telling a family’s story, quilts are more than an heirloom to African American families—they are an act of woven resistance.

Close-up of African American ‘Pine Burr’ quilt circa 1920 found in Selma, Alabama. For sale on 1^st Dibs $7,500

One of the most beautiful quilt patterns is the Pine Cone or Pine Burr, which is a three dimensional quilt made of overlapping triangles. These triangles are put in a circular pattern starting at the center, giving the look of a pinecone. The quilt pictured above was made by an African American of unknown provenance. It took weeks to make and was found in Selma, Alabama circa 1920. It is for sale on 1^st Dibs for $7,500.

QUILTERS OF GEE’S BEND

Gee’s Bend Quilters Jennie Pettway and Jorena Pettway, 1937 (Photo credit: Arthur Rothstein).

Among the most important quilt contributions to the history of art were made by quilters in the isolated African American hamlet of Gee’s Bend, Alabama in the 1930s. Gee’s Bend quilters developed a distinctive style and are known for their lively improvisations and geometric simplicity.

In 2003, 50 quilt makers founded the Gee’s Bend Collective, which is owned and operated by the women of Gee’s Bend and their work has been exhibited in museums across the country, the most notable in 2004 at the Whitney Museum of American Art.

Gee’s Bend quilters working a quilt 2005 (Photo credit: Wikipedia.com)

In 2015, Gee’s Bend quilters Mary Lee Bendolph, Lucy Mingo, and Loretta Pettway were joint recipients of a National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government’s highest honor in the folk and traditional arts.

And in 2023, the Gee’s Bend quilters collaborated with generative artist Anna Lucia to create digital works of art on the blockchain in a project called Generations.

Quilt by Anna Lucia of Gees Bend Quilted physical NFT on a clothesline in Alabama 2023 (Image credit: rightclicksave.com)

FAITH RINGGOLD

Faith Ringgold in front of her quilt Tar Beach 1993 (Image credit: Wikipedia.com)

Faith Ringgold is an artist, activist, quilter, educator and author of numerous award-winning children’s books. Tar Beach, her first children’s book, based on a quilt of the same title, has won over twenty awards including the Caldecott Honor and the Coretta Scott King award for the best-illustrated children’s book of 1991. Ringgold has made a career-spanning commitment to social justice and equity through a variety of media including oil paintings, tankas, soft sculptures, story quilts and prints. If you are in LA, be sure to catch her show at the Jeffrey Deitch Gallery from May 20-August 12.

BISA BUTLER

Artist/quilter Bisa Butler – Quilting for the Culture (Image credit & video: https://www.youtube.com/watch?v=_P3_61nh3xo)

Bisa Butler has been called a modern-day Griot, but instead of using words to tell stories, she uses stitches and cloth. Her quilts have graced the covers of magazines, have been the subject of numerous exhibitions and she created the striking illustration for the book “Unbound,” the memoir of activist and Me Too movement founder Tarana Burke. Her show entitled “Bisa Butler: The World is Yours“, is currently showing in NYC from May 6 to June 30, 2023 at 18 Wooster Street. You will be dazzled! Here’s a link to the show info: https://deitch.com/new-york/exhibitions/bisa-butler-the-world-is-yours

Artist/Quilter Bisa Butler (Image credit: YouTube)

“In my work, I am telling the story— this African American side— of the American life. History is the story of men and women, but the narrative is controlled by those who hold the pen. My community has been marginalized for hundreds of years. While we have been right beside our white counterparts experiencing and creating history, our contributions and perspectives have been ignored, unrecorded, and lost. It is only a few years ago that it was acknowledged that the White House was built by slaves. Right there in the seat of power of our country African Americans were creating and contributing while their names were lost to history. My subjects are African Americans from ordinary walks of life who may have sat for a formal family portrait or may have been documented by a passing photographer. Like the builders of the White House, they have no names or captions to tell us who they were.” ~ Bisa Butler

AFRICAN AMERICAN CRAFT INITIATIVE

The African American Craft Initiative – a division of the Smithsonian Artisan Initiative (Photo credit folklife.si.edu)

The African American Craft (AACI) Initiative works to expand the visibility of African American artisans and ensure equitable access to resources. Established through a consultative dialogue process with African American makers and organizations, and the mainstream craft sector in the United States, AACI outlines concrete actions for sustainable change.

Through collaborative research, documentation, and public programming, the initiative builds upon the relationship between craft and community by amplifying and supporting the efforts of African American makers to sustain their craft practice.

QUILTING & THE FASHION INDUSTRY

A$AP Rocky and Rihanna at the Met Gala 2021 (Image credit: GraziaMagazine.com)

Quilting continues to provoke conversations and contemplations around identity, heritage, and healing within the African American Community. African textiles are often central to quilters and fashion designers at large.

To learn more about African textiles check out these UoF lessons:

UoF-West African Textiles Lessons

To learn more about quilting and various quilt patterns visit Quilt Index https://quiltindex.org

To find out where to purchase African fabrics visit: https://www.quiltafricafabrics.com/collections

Have you viewed our West African textiles lessons yet?

WHY THE LAGERFELD MET SHOW IS CALLED “THE LINE OF BEAUTY”

Antonia Sardone - May 28, 2023 - Current Topics in Fashion, Draping, Fashion Art, Fashion Education, Fashion Tips, Illustration, Sewing

Karl Lagerfeld: A Line of Beauty—Exhibition tour with Andrew Bolton. Video Courtesy of the MET’s YouTube video.

Have you already been to the new MET exhibit, Karl Lagerfeld: A Line Of Beauty, or are planning to attend? Lucky you. If not, then you must view Andrew Bolton’s tour of the exhibit on You Tube.

THE ‘S’ OR SERPENTINE CURVE

The Analysis of Beauty by William Hogarth in 1753 . Hogarth considered line #4, the Line of Beauty”. (Image credit: ResearchGate.net)

The highly anticipated Karl Lagerfeld MET exhibit, which opened on May 5 and is on display until July 16, 2023, is a remarkable homage to the iconic designer and, for all you fashion illustrators nerds out there, a study in line, brushstroke and architectural principles. As the basis for the exhibition, the MET has focused on Lagerfeld’s interest in the work of William Hogarth (1697–1764), a British artist, printmaker and theorist, who published “The Analysis of Beauty” in 1753 and who is considered the initiator of line aesthetics, particularly the “S” or serpentine curve. Hogarth called waving lines, “lines of beauty” and serpentine-lines “lines of grace.” He depicted seven waving lines, declaring line number 4 as the most beautiful and called it the “line of beauty.”

sculpture Venus de Milo- contrapposto pose

Venus de Milo sculpture – contrapposto pose (Image credit: Wikipedia)

Historically speaking however, the S-shaped concept actually dates back to the 4th century BC and is attributed to the famous Greek sculptor Praxiteles in the form of the contrapposto pose, whereby the figure is depicted as slouching, or placing the center of gravity to one side. Today it has become a very popular pose in fashion illustration.

THE LINE OF BEAUTY: AN ARTISTIC FOUNDATION

Karl Lagerfeld: A Line Of Beauty. (Photo Credit: MET)

The MET used Hogarth’s principle to skillfully intertwine Lagerfeld’s love of the Serpentine or ‘S’ line (the line of beauty) and contrasting it with Lagerfeld’s love of the Modern Straight line. In this blog post, we will delve into the fascinating connection between these concepts, highlighting Lagerfeld’s innovative vision and its impact on the world of fashion. We will also teach you more about the ‘S’ line and the Modern Straight line by referring you to our fashion drawing lessons on how to draw the “S’ and Straight line fashion poses and when to use each in your fashion illustrations. We will also point you to our lessons on how to draft romantic sleeves and our beading and embroidery lessons so that you can achieve some of the looks featured in the Lagerfeld MET show.

THE ROMANTIC SERPENTINE: EVOKING GRACE AND MOVEMENT

Karl Lagerfeld’s Line of Beauty Exhibit. (Photo Credit: The Met)

The Romantic Serpentine or “S” line, represents a curvilinear aesthetic inspired by nature and organic forms. Lagerfeld skillfully infused this concept into his designs, allowing garments to embrace the natural contours of the body. The MET show did a great job of arranging Lagerfeld designs that in groups that demonstrated the Serpentine concept of flowing lines, delicate drapes, and soft textures that brought a sense of fluidity and movement to the exhibit.

THE MODERN STRAIGHT LINE: EMBRACIMG MINIMALISM AND PRECISION

Karl Lagerfeld’s Line of Beauty Exhibit. (Photo Credit: Invision)

In contrast, the Modern Straight Line gained prominence in the early 20th century with the advent of modernism. Characterized by clean lines, simplicity and precision, this style revolutionized the world of design with Coco Chanel and Paul Poiret among the the concept’s early-adopters. The MET show masterfully showcases these sharp silhouettes, geometric patterns, and minimalist aesthetics, by juxtaposing Lagerfeld’s sleek designs against the backdrop of rectangular shadow boxes, creating a visually captivating experience for visitors.

LAGERFELD’S VISION: BLURRING BOUNDARIES AND REDEFINING FASHION

Karl Lagerfeld’s Line of Beauty exhibit. (Photo Credit: The Met)

Karl Lagerfeld’s exhibit not only paid homage to the historical artistic concepts but also demonstrated his ability to push the boundaries of fashion. By intertwining the Line of Beauty with the Modern Straight Line and Romantic Serpentine, Lagerfeld challenged conventional ideas and redefined the way we perceive fashion and design. His innovative approach encouraged the fusion of diverse styles, allowing for endless possibilities and a new era of creativity.

VISITING THE METROPOLITAN MUSEUM OF ART

Karl Lagerfeld’s Line of Beauty Exhibit, Floral Lines. (Photo Credit: The Met)

The Karl Lagerfeld Met Exhibit stands as a testament to Lagerfeld’s exceptional talent and his ability to draw inspiration from various artistic movements. By channeling William Hogarth’s Line of Beauty and seamlessly blending the Modern Straight Line with the Romantic Serpentine, Lagerfeld created a mesmerizing display of fashion that showcased both precision and grace. The exhibit not only honored Lagerfeld’s legacy but also served as a catalyst for future designers to explore the intersections of art and fashion, challenging traditional norms and fostering innovation in the industry. To learn more about Lagerfeld’s fashion illustrations read our earlier blogpost, Celebrating Karl Lagerfeld: As Both Illustrator & Designer.

LEARN ABOUT LAGERFELD’S DESIGN CONCEPTS THROUGH THESE UOF LESSONS:

Learn more about LINE and how to draw the S curve and the Modern Straight line silhouette. Try your hand at some of Lagerfeld’s BIG sleeves like the Leg o’ Mutton and other decorative sleeves and learn how to bead and embroider by viewing these lessons:

SO TELL US, are you an ‘S’ curve or a Straight Modern line fan?

UOF INSTRUCTOR UPDATE: RUCHIRA AMARE

Francesca Sterlacci - May 1, 2023 - Illustration, Instructor Spotlight, Pattern Making, Sewing

Our fans and subscribers LOVE to hear what our esteemed instructors are up to these days and if you’ve been reading this blog for the past month, then you know that some of our instructors are newly minted entrepreneurs: our menswear instructor, Rishabh Manocha and our swimwear instructor, Jessica Krupa, each have launched their flourishing new businesses.

This week, we’d like to put the spotlight on Ruchira Amare, an amazing talent who manages to combine her artistic talents with her technical fashion design skills. And, she too has launched her brand.

At UoF, Ruchira shares her expertise as an “artistic engineer” in her lessons: Designer’s Inspiration & Portfolio, Fashion Illustration Using Pastels, Fashion Illustration Using Watercolors, Drafting a Women’s Jacket and Women’s Jacket Pad-Stitching & Inner Construction.

RUCHIRA AMARE (AKA Y.R. Egon)

UoF instructor, artist/designer Ruchira Amare (Image courtesy: Ruchira Amare)

Ruchira was born and raised in Mumbai and is a life-long learner. Although she earned a bachelor’s degree in technology and communication engineering at the University of Mumbai, Ruchira, who has always been interested in the arts, listened to her heart, and pursued individual study with famous Mumbai artists, photography at the National Institute of Photography Mumbai and eventually moved to New York to study fashion design. She earned a bachelor’s degree at Parsons the New School for Design and has worked under fashion designers Donna Karan, Laura Smalls and Peter Speliopoulous.

Live model fashion illustration by Ruchira Amare, aka Y.R. Egon (Image courtesy: Ruchira Amare)

Ruchira is a modern-day polymath. She is just as comfortable using her engineering skills to draft and sew tailored jackets as she is with a paint brush in her hand. As a fine artist, Ruchira’s work has been exhibited in Manhattan at the Dacia Gallery, The Leo House and Space 776. In Brooklyn her artwork has been exhibited at Established Gallery and the Greenpoint Gallery, and her photography at 440 Gallery. Her work was also featured at the Rochester Contemporary Art Centre in Rochester, New York, in Laguna Beach at Six Summit Gallery and online at the Colors of Humanity gallery.

Collage by Ruchira Amare – watercolor on paper with newspaper print entitled: Girl with Yellow Glasses (Image courtesy: Ruchira Amare)

Ruchira’s fashion illustrations have been featured during New York Fashion Week and her work was chosen as part of The New School Alumni Bookshelf 2022, a highly curated list of works by their most notable alum.

Fashion illustration by Ruchira Amare (AKA Y.R. Egon) exhibited during NYFW Art Hearts Fashion event at Angel Orensanz Church. (Image courtesy: Ruchira Amare)

In 2021, Ruchira continued her studies at the New York Academy of Art and the School of Visual Arts. She also explored block printing in India, using plant-based natural dyes from turmeric, dogwood and indigo. Ruchira’s new business venture combines age old block printing techniques, with contemporary motifs from her paintings, to create a fresh take on sustainable fashion.

Ruchira’s Indian block-printing using plant-based natural dyes. (Image courtesy: Ruchira Amare)

Block-printed fashion designs using sustainable dyes inspired by Ruchira’s artwork. (Image courtesy: Ruchira Amare)

Ruchira’s mission is to lead a happy life and be able to share her craft with the world, We wish Ruchira much success in all of her endeavours and especially with her new block printing sustainable clothing venture!

For more info on Ruchira:

Facebook: Ruchire Amare

Instagram: @ruchiraamare

Website: www.yregon.com

CELEBRATING KARL LAGERFELD: AS BOTH ILLUSTRATOR & DESIGNER

Antonia Sardone - April 23, 2023 - Current Topics in Fashion, Fashion Art, Fashion Education, Fashion History, Fashion Shows, Illustration

Karl Lagerfeld Sketches His Life video (Video Link: You Tube)

In honor of the upcoming MET exhibit entitled “Karl Lagerfeld: A Line of Beauty,” we would like to celebrate Lagerfeld’s work as an accomplished fashion illustrator, as well as a prolific fashion designer. It is a common myth that all fashion designers are able to conceptualize their fashion designs via fashion illustration. The truth is that very few designers know how to ‘illustrate‘. It is much more common for designers to execute a quick fashion ‘sketch‘ to get their design idea across.

Another misconception is that all fashion illustrators can ‘design’. Well, just because one can illustrate fashion doesn’t mean that they can also design fashion. In fact, it is quite rare when a fashion designer can do both. As many of our subscribers know, there are other skills including draping, pattern making and sewing that should be honed to become a successful designer.

Therefore, in lieu of the upcoming MET show, this week’s blog post will highlight Lagerfeld’s work as both a designer and illustrator. And, since we just celebrated World Creativity Day on April 20th, we will also be highlighting other famous designers/illustrators whose illustrations are fast becoming collector’s items, that are either sold at auction houses or on their websites for thousands of dollars.

KARL LAGERFELD: THE ILLUSTRATOR

The upcoming Lagerfeld MET exhibit, which runs from May 5 to July 16, is expected to draw fashion enthusiasts and industry insiders from around the world eager to experience the life and work of one of fashion’s most influential designers. It will feature Lagerfeld’s most iconic designs, including his re-imagined Chanel jackets, Fendi fur pieces and his signature accessories. The exhibit will also include a variety of personal items belonging to Lagerfeld, such as his sketchbooks, personal correspondence and photographs. This is definitely a designers’s dream show come true!

Karl Lagerfeld and his treasured cat Choupette in Paris 2018. (Photo Credit: Annie Leibovitz for Vogue)

Throughout his career, Lagerfeld created a wealth of fashion illustrations that captured the essence of his designs and his unique creative vision. His illustrations were often used to promote his collections and even today, they continue to inspire and captivate fashion enthusiasts.

In Lagerfeld’s early illustration work, you can see that he had a much tighter hand as shown in the images below that he did for the House of Tiziani before he joined Chanel in 1983. His illustrations were characterized by their bold, graphic style and attention to detail. Over time however, Lagerfeld’s hand became looser and less rigid and therefore was able to capture the movement and flow of fabrics, often highly stylized, with exaggerated proportions and abstracted shapes. Despite their abstract nature, Lagerfeld’s illustrations always conveyed a sense of elegance and sophistication.

Four of the fashion illustrations by Karl Lagerfeld auctioned on April 18, 2019 (Image Credit wwd.com)

Whether Lagerfeld was illustrating a Chanel jacket or a Fendi gown, he always managed to convey the unique character and style of each piece. Used as promotional materials, Lagerfeld’s illustrations helped build anticipation and excitement for each of his upcoming shows.

Illustration of Chanel coat, fall 2017. (Courtesy of The Metropolitan Museum of Art)

Lagerfeld’s work was also a reflection of his larger creative vision. He was known for his love of art, literature and culture, and his illustrations often incorporated elements from these fields. For example, he frequently incorporated references to classical art, such as Greek statues, Renaissance paintings or iconic monuments such as the Statue of Liberty. These references added an extra layer of depth and meaning to his work and helped to establish Lagerfeld as a true visionary in the fashion industry.

Lagerfeld’s illustration – Anna Piaggi for Liberty of Fashion, Barney’s New York
1986 (Image Credit: 1stDibs.com)

The work of some fashion designers and fashion illustrators are now highly collectable and are sold on websites like 1stDibs.com, iCanvas.com and Artsy.net or in auction houses around the world.

A Karl Lagerfeld illustration circa 1960-1970: original yellow and white coat colored pencil fashion sketch – 10k Appraisal
Includes a Certificate of Authenticity – sold for US$6,950 (Photo Credit: artsy.net)

In addition to illustrating his collections, Lagerfeld also created a number of illustrations for other purposes, such as books, magazines and even a calendar, showcasing his diverse talents and his ability to adapt his style to different contexts. Lagerfeld’s illustrations were always imbued with his signature style and creativity, making them instantly recognizable as his own.

A Chanel illustration for Lady Gaga created by Karl Lagerfeld. (Photo Credit: Facebook.com)

KARL LAGERFELD: THE DESIGNER

The MET’s Lagerfeld exhibit will consist of approximately 150 designs and according to the MET, it will “explore the artistic methodology and stylistic vocabulary of Karl Lagerfeld’s designs through recurring themes across more than 65 years, from the 1950s to his final collection in 2019”. The Costume Institute Benefit (also known as The Met Gala) will take place on Monday, May 1, 2023.

In addition to showcasing Lagerfeld’s designs, the exhibit will explore the designer’s life and legacy. Lagerfeld was known for his larger-than-life personality, his love of art and literature, and his tireless work ethic. The exhibit will delve into Lagerfeld’s background, including his early life in Germany and his rise to fame in the fashion industry. Visitors will gain insight into Lagerfeld’s creative process, his inspirations, and his collaborations with other artists and designers.

One of the most exciting aspects of the exhibit is the opportunity to see Lagerfeld’s designs up close and personal. Visitors will be able to study the intricate details and craftsmanship that went into creating each piece. From the impeccable tailoring of his jackets to the intricate embroidery on his gowns, Lagerfeld’s designs are a testament to his skill as a designer. Here’s a sample of what will be featured in the exhibition:

Wedding dress by Chanel Haute Couture from the Fall 2005 Collection. (Photo Credit: Julia Hetta. Courtesy of the MET)

A Fendi coat from the fall 2000 Collection. (Photo Credit: Julia Hetta for the MET)

The exhibit will also feature interactive elements, including virtual reality experiences and interactive displays. Visitors will be able to explore Lagerfeld’s designs in a variety of ways, from 3D projections to virtual runway shows. The exhibit will provide a truly immersive experience, giving visitors a chance to step into Lagerfeld’s world and see the fashion industry through his eyes.

KARL LAGERFELD’S INFLUENCE IS STILL FELT TODAY

A vintage photo of Karl Lagerfeld. (Photo Credit Getty Images)

Lagerfeld served as the creative director for Chanel for over three decades, before his passing on February 19, 2019.

Perhaps one of Lagerfeld’s greatest contributions to fashion was his ability to keep Chanel relevant. When he took over as creative director in 1983, the brand was struggling to remain fresh. However, Lagerfeld breathed new life into the heritage brand, infusing it with his own unique style and vision. He was unafraid to take risks and experiment with new ideas, while still remaining true to the brand’s classic aesthetic.

Lagerfeld’s re-invention of the Chanel jacket, which he introduced in the 1980s, was a modern update of the classic silhouette. The jacket became an instant classic and remains a staple of the Chanel collection, in various iterations, today. Although he is no longer with us, Lagerfeld’s influence on fashion will continue to be felt for years to come.

Some of Karl Lagerfeld’s best moments at Chanel. (Photo Credit: Harper’s Bazaar)

OTHER GREAT FASHION DESIGNERS/ILLUSTRATORS

Most designers working in the fashion industry today have little time to sit down and illustrate their ideas. Most execute quick, rough sketches that they hand off to their assistant or to their pattern maker. But there are fashion designers who prefer to illustrate their creations and who possess a special talent that enables them to better communicate their vision in a unique and creative way. Most designers will hire a professional fashion illustrator to showcase their work for press purposes, for example, the illustration below is by fashion illustrator Janka Letková for Marc Jacobs. See the illustrator’s signature in small script along the vertical sash.

Fashion illustrator Janka Letková for Marc Jacobs (Image Credit: iCanvas.com)

Other designers are more inclined to promote their work using their own unique style of illustration. Here a a few of the talented fashion designers who illustrate their own creations.

DIOR’S MARIA GRAZIA CHIURI

Maria Grazia Chiuri, the creative director for Dior, creates exquisite illustrations that are characterized by their romantic, ethereal quality. Her illustrations showcase the details and exquisite craftsmanship of her designs which adds an extra layer of depth and meaning to her work.

Maria Grazia Chiuri fashion illustration for Dior for Georgia tour

Dior’s Maria Grazia Chiuri fashion illustration for recording artist Georgia for her 2019 tour (Image Credit: fashion press.it.com)

CHRISTIAN LACROIX

French fashion designer Christian Lacroix is also known for his illustration skills, which are characterized by their whimsical, and fantastical style. Lacroix’s illustrations often incorporate elements from art history, such as Rococo motifs and Baroque ornamentation. His illustrations showcase his unique creative vision and his ability to blend different styles and influences into his designs.

Fashion Illustrations by Christian Lacroix (Image Credit: Pinterest.com)

ALBER ELBAZ

Alber Elbaz, the former creative director of Lanvin who sadly passed away on April 24, 2021, was known for his playful and cartoonish style. His illustrations often featured exaggerated proportions with bright, bold colors and were used to promote his collections. His illustrations were considered artwork in their own right.

A fashion illustration by Alber Elbaz for Lanvin (Image Credit: Pinterest.com)

CHRISTIAN SIRANO

Christian Siriano is a designer who has built a successful career by creating clothing that celebrates diversity and inclusivity. He is also an accomplished illustrator whose illustrations are playful, yet with a sense of drama and impact. Siriano is one of the designers who sells his limited-edition illustrations, ranging from $75-$1,200, on his website ChristianSiriano.com.

Christian Siriano showing his limited edition fashion illustrations (Photo Credit: ChristianSiriano.com)

JEAN-PAUL GAULTIER

Jean-Paul Gaultier is a designer known for his daring, unconventional designs. He is also an accomplished illustrator. Gaultier’s illustrations often feature precise, graphic lines, like the one below that he did for Madonna’s MDNA 2012 tour.

Fashion illustration by Jean Paul Gaultier for Madonna’s MDNA Tour 2012

Looking for more info on fashion illustration as collectable items, view our blog from March 14, 21, entitled Looking For a Hot Investment Tip? Try Collectioning Fashion Illustrations.

With the advent of computer-assisted design, fashion illustration has become a luxury for most fashion designers these days. However, at UoF we still promote hand drawn fashion through our Fashion Art discipline consisting of 27 Beginner, 39 Intermediate and 17 Advanced lessons. We teach how to draw, render and illustrate fashion design and accessories and so it’s no wonder that we are head-over-heels excited to see the Lagerfeld show at the MET. Viva La Fashion Illustration! Viva Lagerfeld!

SO TELL US, DO YOU KNOW OF OTHER FASHION DESIGNERS THAT CAN ILLUSTRATE?

ARE YOU READY FOR DECENTRALAND’S METAVERSE FASHION WEEK 2023?

Antonia Sardone - March 19, 2023 - Fashion Events, Technology

Decentraland Fashion Week 2023. (Photo Credit: Blockchain Witcher)

Fashion Month 2023 (IRL) may have ended but wait…there’s more! This time in the virtual world, as the concept of living in a virtual world is rapidly expanding. The fact that in 2021 the global virtual reality gaming market was valued at USD 7.5 billion and is projected to reach a value of USD 37 billion by 2028, it’s no shock to learn that the fashion industry wants in!

Virtual fashion has become increasingly popular, with designers exploring new concepts and pushing the boundaries of traditional fashion. After a high-profile debut in 2022, Decentraland’s Metaverse Fashion Week 2023 will soon light up virtual stores and runways again, with a second installment set for March 28 to 31. Metaverse Fashion Week (MVFW) events are becoming some of the most highly anticipated events in the virtual reality world and a place where designers can showcase the latest trends and designs in both virtual and physical fashion.

What You Need To Know About Metaverse Fashion Week

First of all, here’s you ticket (March 28-31) to MVFW23 https://mvfw.org/

In 2022, Decentraland, a ‘decentralized’ virtual world platform, pioneered Metaverse Fashion Week to much acclaim. This year, Decentraland partnered with virtual-world platforms Spatial and Over, the latter a Metaverse specializing in augmented reality, for a greater cross-platform experience or, as they call it in virtual speak,” interoperability”.

For 2023, Decentraland is offering a cross-platform wearable design competition and the winners will be featured in a hybrid AR/IRL catwalk at a four-day event in Milan. Other Metaverses are interested in tying into MVFW with simultaneous agendas or satellite events.

MVFW23 promises that the global community will get to experience the latest advancements in metaversal interoperability and digital fashion and explore a place where users can buy, sell, and build on virtual land. Users can create their own virtual reality experiences, from games to social experiences, all powered by blockchain technology, which allows for secure transactions and ownership of virtual assets. MVFW is quickly becoming one of the most popular virtual reality global events. With a growing community of users, developers, fashion designers, influencers and fashion enthusiasts, it’s a great showcase for catching the latest creations and where the public can check out the latest trends in virtual fashion that push the boundaries of traditional fashion. It is also an opportunity to connect with others in the virtual reality community.

How to get to MVFW23

Mark your calendar March 28-31 and here’s your “ticket” to MVFW23 https://mvfw.org/

Decentraland’s Metaverse Fashion Week23 will feature over 60+ participating brands, artists, and designers from around the world and promises unique and immersive experiences that not only showcase the latest trends and designs in virtual fashion, but a place where attendees can expect a wide range of activities, including fashion shows, pop-up shops, networking opportunities and much, much more. #MVFW23

Metaverse Fashion Week 2023 (MVFW) to highlight advances in digital fashion & interoperability. (Photo Credit: FashionUnited)

In an interview with WWD, Giovanna Casimiro, the Metaverse producer for Decentraland in charge of its fashion week, “One of the core values from the first edition was trying to unite designers and expand the aesthetics and the possibilities for brands. So after the first edition, we decided to go across metaverses,” she explained. “When we talk about extending the interoperability, it’s really starting to collaborate with other universes and metaverses to create an agenda [that’s] cross-platform.”

Interoperability also extends to NFTs, which is a major change for wearables compared to last year’s event. During Metaverse Fashion Week 2022, brands couldn’t link their external NFTs to their virtual clothes inside Decentraland, but its developers worked on this feature and in September, Dolce & Gabbana — a previous and returning MVFW brand — notably highlighted it by linking its Disco Drip NFTs to Decentraland wearables, allowing owners to wear them to their next virtual party.

Dolce & Gabbana goes all out disco in Decentraland. (Photo Credit: Dolce & Gabbana)

How Virtual Clothes Become IRL Options

According to WWD, linking virtual fashion NFTs to physical product could simplify how brands offer avatar-ready digital twins of their real-world fashion. Some of those efforts may be destined for Boson Protocol, a marketplace for so-called “phygital” goods, which is another previous and returning MVFW participant this year.

“There is one particular case of Rubin Singer,” said Casamiro in her WWD interview, referring to the couture designer and his “Phygicode Dress” project. “He’s creating a digital piece in collaboration with Asian designers this year. So he’s creating a digital twin of a physical garment for [this event] especially, but I think different brands will be trying to bring that angle this year.”

Another connection can be made during Decentraland’s Metaverse Fashion Week 2023. The Vueltta artists collective plans to honor the late designer Vivienne Westwood with a tribute to the “punk queen of fashion”. Part memorial, part gaming experience, the installation was created with the goal of encouraging people to learn more about the designer’s life and work, according to Bay Backner, Vueltta’s cofounder.

One of Vueltta’s illustrations for Vivienne Westwood that will be featured in its tribute installation. (Photo Credit: imagenone)

“We structured this installation around a concept called ‘Dear Vivienne,’ which is a letter from us as artists to her, thanking her for her iconic style and activism,” Backner told WWD. There are different aspects, but they all work together.

Decentraland will also open a brand-new ‘fashion plaza’ during MVFW23 and it will be dedicated to emerging designers. The goal is to highlight and encourage collaborations between established brands and new talent, tying it directly to the MVFW23 theme, “Future Heritage”.

According to Casamiro, “it’s a way to bring a more critical discussion on the future of fashion” and to connect the dots between innovation, legacy and tradition. The Plaza’s featured brands point to this too, with emerging names like Gaian and Alo at one end, and Coach on the other, marking the luxury handbag company’s first direct showing at MVFW.

Coach’s first outing at MVFW will feature its signature Tabby bag. (Photo Credit: Photonone)

Here’s what else you can expect at Decentraland’s MVFW23:

CUTTING -EDGE VIRTUAL FASHON

One of the most exciting aspects of Decentraland’s Metaverse Fashion Week 2023 is the cutting-edge fashion that will be showcased, since virtual fashion has many advantages over phygital fashion. Virtual fashion designers can create designs that are impossible in the physical world (for example: the need for zippers, closures and fit & wearability issues), allowing them to explore new concepts and to push the boundaries of traditional fashion. And, of course, virtual fashion is sustainable vs. traditional fashion, as it doesn’t require the use of physical materials.

Virtual fashion also offers a new level of customization and personalization. Virtual avatars can be customized to reflect the unique style and preferences of each individual user. Virtual fashion designers can create designs that are tailored to specific avatars, allowing users to express their individuality and to stand out in the virtual world.

INTERACTIVE FASHION SHOWS

Fashion shows are a staple of the fashion industry and Decentraland’s Metaverse Fashion Week is no exception. The fashion shows at the event will be fully immersive and interactive, allowing attendees to experience the designs in a way that is not possible in the physical world.

Virtual fashion shows offer many advantages over traditional fashion shows. Virtual fashion shows can be more immersive and interactive, allowing attendees to explore the designs in a way that is not possible in the physical world. Virtual fashion shows can also be more accessible, as they do not require attendees to travel to a physical location.

The fashion shows at Decentraland’s Metaverse Fashion Week 2023 promise to be a unique and enveloping experience, showcasing the latest trends and designs in virtual fashion. Attendees can expect to see virtual models showcasing the latest designs, and they can interact with the designs in various ways, such as changing the colors or textures of the clothes.

In addition to the traditional runway shows, there may also be virtual reality experiences that attendees can participate in, for example, attendees may be able to virtually explore a fashion exhibit or watch a 360-degree video showcasing the latest designs.

CELEBRITY GUESTS

Just like any major fashion event, Metaverse Fashion Week 2023 is likely to attract a wide range of celebrity guests. From fashion designers to models and influencers, the event promises to be a star-studded affair.

Influencers, celebrities, and designers can use virtual events like Metaverse Fashion Week to showcase their brands and reach a wider audience. The event offers an opportunity for these individuals to connect with their fans and showcase their latest virtual fashion designs.

VIRTUAL POP-UP SHOPS

Metaverse Fashion Week 2023 will also feature virtual pop-up shops where attendees can purchase the latest virtual fashion items and accessories for their avatars. The pop-up shops will allow attendees to experience the latest virtual fashion designs up close and personal.

Virtual pop-up shops are not just a novelty; they are a real industry that is gaining traction in the fashion world. Virtual fashion items like clothing, accessories, and footwear can be bought and sold in the virtual world just like in the physical world.

Virtual pop-up shops offer a unique shopping experience that cannot be replicated in the physical world. Attendees can explore the virtual shops, browse the latest virtual fashion items, and purchase items for their virtual avatars. Some brands will be linking the designs to physical brand options and vice versa.

NETWORKING OPPORTUNITIES

Metaverse Fashion Week 2023 offers an excellent opportunity for designers, influencers, and fashion industry professionals to network and connect with each other. Virtual events like this offer a unique opportunity to connect with people from all over the world in a virtual setting. If you are an existing or aspiring virtual fashion designer, then this is your chance to get connected.

Networking is essential for anyone looking to make a name for themselves in the fashion industry. The event offers an opportunity to connect with other designers, influencers, and industry professionals, which can lead to collaborations, partnerships, and new business opportunities.

A GLOBAL AUDIENCE

MVFW23 will be accessible to anyone with an internet connection, making it a truly global event that can be enjoyed by fashion enthusiasts from all over the world.

A look at the arena at Decentraland, one of several venues lined up for MVFW. (Photo Credit: WWD)

Overall, Decentraland’s Metaverse Fashion Week 2023 promises to be an exciting event with plenty of brands returning in the luxury district, perhaps even scouting out talent in the fashion plaza or setting up shop in one of the countless other zones — from DressX and The Fabricant, to DKNY, Perry Ellis and Tommy Hilfiger, to Dolce & Gabbana and Dundas, and more. MVFW23 continues to attract new participants such as Coach and Adidas. Although MVFW enjoyed lots of hype and buzz last year, Decentraland is hoping that the 2023 event will top last year’s numbers of 108,000 unique attendees.

The experiences between zones, groups, organizations and companies will vary, as some tiptoe into the Metaverse, while others dive in, but one thing is for sure, this interactive experience may be the tip of the iceberg and the future of the fashion industry.

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To learn more about African textiles check out these UoF lessons:

Have you viewed our West African textiles lessons yet?

THE ‘S’ OR SERPENTINE CURVE

THE LINE OF BEAUTY: AN ARTISTIC FOUNDATION

THE ROMANTIC SERPENTINE: EVOKING GRACE AND MOVEMENT

THE MODERN STRAIGHT LINE: EMBRACIMG MINIMALISM AND PRECISION

LAGERFELD’S VISION: BLURRING BOUNDARIES AND REDEFINING FASHION

VISITING THE METROPOLITAN MUSEUM OF ART

LEARN ABOUT LAGERFELD’S DESIGN CONCEPTS THROUGH THESE UOF LESSONS:

SO TELL US, are you an ‘S’ curve or a Straight Modern line fan?

RUCHIRA AMARE (AKA Y.R. Egon)

KARL LAGERFELD: THE ILLUSTRATOR

KARL LAGERFELD: THE DESIGNER

KARL LAGERFELD’S INFLUENCE IS STILL FELT TODAY

OTHER GREAT FASHION DESIGNERS/ILLUSTRATORS

DIOR’S MARIA GRAZIA CHIURI

CHRISTIAN LACROIX

ALBER ELBAZ

CHRISTIAN SIRANO

JEAN-PAUL GAULTIER

SO TELL US, DO YOU KNOW OF OTHER FASHION DESIGNERS THAT CAN ILLUSTRATE?

What You Need To Know About Metaverse Fashion Week

How to get to MVFW23

How Virtual Clothes Become IRL Options

CUTTING -EDGE VIRTUAL FASHON

INTERACTIVE FASHION SHOWS

CELEBRITY GUESTS

VIRTUAL POP-UP SHOPS

NETWORKING OPPORTUNITIES

A GLOBAL AUDIENCE

So, tell us, will you be participating in Metaverse Fashion Week 2023?

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