ILLUSTRATION AND COMMUNICATION

Fashion illustrations

Francois Berthoud, Preparation I, 2001

Berthoud combines a line silhouette drawing with texture focused drawings through a photographic chromogenic print (C-print). The way a C-print is created is by exposing the colour negative to the chromogenic photographic paper which contains 3 emulsion layers, each sensitised to one of the primary colours. After this exposure the image is placed into a chemical bath so that each of the layers can react resulting in a full colour print. Despite the complicated process to create this type of technical print Berthoud combines multiple drawing techniques such as the line silhouette on top of multiple pattern of repeated shapes which from far almost look like shading and movement within the garment yet from close just looks like the composition of the textiles pattern. The unconventional contrast of using a white line on the black background is perhaps what makes this illustration most successful and unique.

Antonio, Yo and Koi, 1983

Repetition is the most prominent factor in this illustration such as the repeated use of the colour blue but in different shades alongside the repetition of the models face. I haven't really seen fashion illustrations taking this sort of approach and composition layout. Alongside this he uses an untraditional colour blocking technique by instead flooding the page but still conveying the idea that blue is the most significant colour in the garment depicted despite it actually being drawn in black. The grand majority of lines are sharp and straight giving off a sense of strength and power for the mood and energy of the clothes including the strong pose the model is drawn in, for example the muscles and placement of her body parts too being very minimally exaggerated. For me this illustration very clearly conveys ideas of visual look of the clothes as well as the mood of the concept.

Drawing-Fashion-at-the-DesignMuseum-Gustafson-Red-Dress-1998-2000.jpg

Mats Gustafson, Red Dress, 1999

Gustafson also takes an unconventional approach to a fashion illustration by firstly only using one medium of watercolour and only focusing on abstract shape and silhouette. From this painting we cannot decipher the type of textile or its look in real life but what we can figure out is how its structure should look like when in motion. At first glance the darker tones of red seem to just portray shadows in the garment however I believe they hold a deeper meaning related to the mood of this look such as strength or passion perhaps.

Aurore de La Morinerie, Impression I, 1910

This illustration focuses primarily on the texture and visual look of the textiles used in the clothes on the model alongside the monochrome palette. The significance of the use of only black and white is perhaps enhanced by the contrasting warmer beige background.

Image source:

Drawing Fashion: A century of fashion illustration, edited by Joelle Chariau Colin McDowell and Holly Brubach 2010

RESEARCH

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