Bernard blossac illustrator biography channel
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Dior Milestone: Dior in Brushstrokes
PARIS — A visionary marketer, Christian Dior understood the power of the line and the brushstroke to capture the quintessence of his house, tapping a number of the era’s best illustrators to help boost desire for his creations during the post-war period.
One of the couturier&#;s most meaningful creative collaborations, and cherished friendships, was with Italian-born René Gruau. Dior is said to have met him in his 20s when they were both working as illustrators for the fashion department of French daily Le Figaro.
Following the creation of his house in , Dior approached Gruau to draw the advertising campaign for the house&#;s first fragrance, Miss Dior. He also asked him to capture the avant-garde spirit of his Bar suit, and ultimately encapsulate the essence of the Dior woman and the New Look.
So impressed was he with the result that Dior commissioned the artist to handle all of the house’s ad campaigns — across cosmetics and perfumes, including for Rouge Dior, Diorama, Eau Fraîche and Eau Sauvage; lingerie, such as the house’s Scandale hosiery line, and couture. Dior is said to have told Gruau: “Follow your instincts, we speak the same language.”
Other key collaborato
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“A lot of people think that fashion illustration is something that died circa , when photography came in — but that’s absolutely not true,” says Connie Gray, curator of “Drawing on Style,” an exhibition running during this London Fashion Week. “They ran very much hand-in-hand up until the s and s, and they really complemented each other on the page. Very often there would be a mixture of photography and illustration within the same fashion story.”
Gray’s gallery, Gray M.C.A., specializes in fashion illustration, and her exhibitions have become an annual event (now in their third year). The new show is a broad retrospective of around 60 drawings, taking in everything from a pencil sketch by Bernard Boutet de Monvel to contemporary work by New York’s Blair Breitenstein and Barcelona’s Conrad Roset.
Gray is particularly proud of the postwar offering: “We have what I consider to be the very masters of the period, which is René Gruau, René Bouché, and Carl ‘Eric’ Erickson — they were continuously commissioned for Harper’s Bazaar, for Vogue, for Elle, for Women’s Wear Daily, for the New York Times,” she says. “Then we move through to the s, where the revolutionary new style came in, with Antonio Lopez and Kenneth Paul Block — both American illustrators. The American
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