Carl Erickson (1891 – 1958) was an American fashion and advertising illustrator from the 1910s through to the 1940s. At the peak of his career, he signed his work “Eric” and was known by this name. He worked a great deal for Vogue in the 1930s and 40s. He had a reputation for being obsessively hardworking. He only ever sketched from live models. For each illustration that appeared in a magazine, he had made dozens of studies. And he was known for bringing his sketchbook with him everywhere he went – to the restaurant, to the theatre – and capturing the elegance he saw around him.
From an editorial shot by Patrick Demarchelier for the US Vogue February edition, entitled “Love in the Trenches”. A kind of silly-nice idea, really. It is models with their real-life sweethearts, shot wearing trench coats from the Spring collections. Wasn’t too fond of the other shots, but I do like Aminata Niaria in this polka dot trench – a nice twist on the classic. Cute shoes, and the touch of red lippie too, a very nice clean look overall.
René Gruau was a fashion illustrator, most famous for his work in the 1940s and 1950s. He walked away from his father’s aristocratic heritage (his father was an Italian count), to pursue an artistic career in Paris in the twenties. As an illustrator his work was first published when he was only 14 years old, in the mid-1920s. He illustrated throughout the 1920s and 1930s, but during the Second World War, work was harder to find for artists, which is what led Gruau to illustrate for lesser known designers, including the then lesser-known Christian Dior. He became artistic director for advertising for Christian Dior in 1947. Gruau and Dior worked together to shape and market the New Look, and became close friends, hence why Gruau is most often associated with the house of Dior.
He didn’t only illustrate for Dior however, but for other designers and fashion houses including Pierre Balmain, Jacques Fath, Balenciaga, Elsa Schiaparelli, Rochas, Lanvin, Elizabeth Arden, and Hubert de Givenchy, and for many magazines including Marie-Claire, Femina, Elle, Vogue, Harper’s Bazaar, Flair, L’Officiel and Madame Figaro, not to mention those illustrations for The Moulin Rouge and Lido in Paris that you may recognise.
His illustrations shaped the path of Haute Couture, and influenced fashion itself, in a true life-imitating-art-imitating-life way. For me Gruau’s women are glamour and high-society, femininity and sensuality. When I see his illustrations I think of Paris, I think of Vogue, I think of champagne and the Moulin Rouge, and the French Riviera, of perfume and red lipstick. Gruau died at the age of 95 in 2004 – so recently! *sigh*
Hmm, a Vogue editorial that I like – hmm, let me see, could it have been shot by Steven Meisel? And styled by Grace Coddington? Why yes, it was! No surprises there. The models are Karlie Kloss, Lara Stone and Freja Beha.
I’m not quite sure why Emma Watson has become a fashion darling, she just seems so very young to me. Not that she’s not very pretty, I just think perhaps she needs to grow into her looks. But anyway, they certainly glammed her up for this shoot in Italian Vogue. The rest of the looks were kind of baroque Cinderella meets Lord of the Rings, but these two I like very much. That sheer blue Christian Dior dress just keeps popping up on this blog (here and here).
Okay, I was just bitching a few days ago to Jo about how I didn’t like Karl Lagerfeld as a photographer all that much. But, well, I do like this I must admit. Diane Kruger by Karl Lagerfeld for German Vogue March 2010:
Baron George Hoyningen-Huene (1900 – 1968) was a seminal fashion photographer of the 1920s and 1930s. He was born in Russian to Baltic German and American parents and spent his working life in France, England and the United States.
, originally uploaded by.
During the Russian Revolution the Hoyningen-Huenes fled to first London and later Paris. By 1925 George had already worked his way up to chief of photography of the French Vogue. In 1931 he met Horst, the future photographer, who became his lover and frequent mode and traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in November of that year.
In 1935 Hoyningen-Huene moved to New York where he did most of his work for Harpar’s Bazaar. He published two art books on Greeceand Egyptbefore relocating to Hollywood, where he earned his wedge by shooting glamorous portraits for the film industry. Beyond fashion, he was a master portraitist as well from Hollywood stars to other celebrities.
I’ll admit it. I love Tina Fey! She’s adorable. Just look at her in these cute little tap shorts and long gloves!!
View From the Top
The actress, who stars in next month’s Date Night, photographed in homage to Helmut Newton’s 1975 portrait of Elsa Peretti. Dolce & Gabbana black silk-jacquard bodysuit and black lace bloomers. LaCrasia gloves. Bulgari diamond necklace and bracelets. Ellen Christine Couture Millinery mouse-ears cocktail cap. Wolford tights. Shot on location at the Top of the Rock Observation Deck.
Sean Combs/Diddy has appeared in Vogue’s February 2010 issue alongside supermodel Natalia Vodianova in an editorial entitled Brief Encounter, shot by Annie Leibovitz and styled by Grace Coddington. Natalia and Diddy were outfitted by the likes of Tom Ford, Ralph Lauren, Salvatore Ferragamo, Christian Louboutin, Louis Vuitton and Christian Dior. Read the full article from Vogue .
Diddy’s next studio album, due out in April, is entitled Last Train To Paris. Coincidence?
Hot Ticket
With a mood of gathering mystery—and clothes with a mid-century-movieland mystique—the romance is set for departure. Chanel tweed suit dress. Ralph Lauren Blue Label trench (on suitcase). Christian Louboutin slingbacks. On Diddy: Tom Ford coat and suit. Ermenegildo Zegna tie. Shot at New Jersey Transit Hoboken Station.
Strangers on a Train
The couple trade glances. Her look has all the hallmarks of MGM-siren glamour: pencil skirt (check!), narrow belt (check!), Lana Turner sweater (check!). Rochas silk sweater, skirt , and belt.
The Express Track
“Is this seat taken?” and “I’m traveling alone”—before the next station, an unexpected exchange of confidences. Giambattista Valli short-sleeved gray jacket and matching skirt. Hermès bag.
An Affair to Remember
Narrow corridors and incendiary screen chemistry lead speedily to first-class sleeping compartments. She’s dressed for a private party in soft-pink washed satin. Nina Ricci dress. On Diddy: Salvatore Ferragamo shirt. Louis Vuitton trousers.
Steamy
Looking absolutely like a World War II heroine—Greer Garson, say—Natalia clings to her star-crossed lover. Christian Dior pale-pink silk-crepe belted jacket with front peplum and tulip skirt. Nina Ricci leather ankle boots.
I’ll Be Seeing You
In the closing shot, she wears a trench coat – icon of tearful cinematic goodbyes since Bogie said, “Here’s looking at you, kid,” to Ingrid Bergman in Casablanca. Nina Ricci cotton trench.
