Rongrong DeVoe is a freelance fashion and lifestyle illustrator based in Houston, TX, US. Serving New York, London, Paris and worldwide. Her fashion Illustration has been featured on Vogue, InStyle and Buzz Feed. Her clients include Chanel, Dior, Neiman Marcus, Target, Maybelline etc. She also live sketch runway models during New York Fashion Week. She is available for various kinds of fashion, editorial and commercial illustrations as well as live sketching at fashion parties/events.
Fashion illustration began in the sixteenth century when global exploration and discovery led to a fascination with the dress and costume of people in many nations around the world. Books illustrating the appropriate dress of different social classes and cultures were printed to help eliminate the fear of change and social unrest these discoveries created.
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Between 1520 and 1610 more than two-hundred collections of such engravings, etchings, or woodcuts were published, containing plates of figures wearing clothes particular to their nationality or rank. These were the first dedicated illustrations of dress and the prototype for modern fashion illustration. The illustrations likely found their way to dressmakers, tailors, and their clients, serving to inspire new designs.
The journals, which began to be published in France and England from the 1670s onward, are considered the first fashion magazines, among them Le Mecure Gallant, The Lady's Magazine, La Gallerie des Modes, Le Cabinet des Modes, and Le Journal des Dames et des Modes. The increase in the number of periodicals and journals produced during this time was in response to an increasingly well-informed female readership eager for the latest news of fashion. Illustrations of current male styles became equally as important as those for women by the late eighteenth and early nineteenth centuries.
The fashion plate came into its own in the late eighteenth century, flourishing in Paris with publications such as Horace Venet's Incroyables et Merveilleuses. This series of watercolor fashion drawings under Napoleon I was engraved by Georges-Jacques Gatine (1773-1824) as a series of fashion plates. France's position as the arbiter of fashion ensured that there was a constant demand, at home and abroad, for fashion illustration. This interest in, and growing access to, fashionable dress resulted in the introduction of more than one hundred and fifty fashion periodicals during the nineteenth century, all of which included fashion plates. These highly detailed fashion illustrations captured trend-driven information and provided general dressmaking instruction. These illustrations were created by such talented artists as the Colin sisters and Florensa de Closmnil.
Couture fashion emerged in the 1860s. Fashion houses hired illustrators who would work directly with the couturier to sketch the new designs as the maestro draped the fabric onto a live model. They also drew illustrations of each design in the finished collection which could then be sent to clients. By the end of the nineteenth century, hand-colored prints were replaced by full-color printing. Fashion plates began to feature two figures, one of which is seen from the back or the side so that the costume could be seen from more angles, making it easier to copy. The focus of nineteenth-century illustrators was on accuracy and details. They conformed to static, iconographic conventions in order to provide information and instruction to their viewers.
Fashion illustration by the turn of the twentieth century became highly graphic and based more on the artist's individual style. For example, Charles Dana Gibson's (1867-1944) scratchy renderings of the modern American woman, with upswept hair and shirt-waist, defined a type as well as provided a humorous, sometimes satirical, commentary on contemporary American life.
The early decades of the twentieth century saw the first flowering of fashion illustration in its modern sense. The business of drawing became a vocation as the circulation of the latest styles became an increasingly lucrative business. Fashion, formerly the work of individual artists, was becoming an industry, producing new merchandise in unprecedented quantities to fill department stores. These stores were inventing the culture of shopping, a new national pastime.
In Paris, couturier Paul Poiret was commissioning limited edition albums by artists such as Paul Iribe (1883-1935). In 1908, Iribe introduced figures printed using the pochoir method, based on Japanese techniques which involved creating a stencil for each layer of color which was then applied by hand. Known for his jeweled-tone palette and clean graphic line, Poirot now aligned his new uncorseted and exotic silhouettes with the elite and exclusive world of art.
New technological developments in photography and printing began to allow for the reproduction of photos to be placed directly onto the pages of magazines, meaning the fashion plate was no longer a representation of modern life. By the beginning of the 1930s, photographs began to be preferred in magazines, with Vogue reporting in 1936 that photographic covers sold better. Illustration began to be relegated to the inside pages.
By the 1950s, fashion editors were investing more of their budgets for editorial spreads of photography. The subsequent promotion of the fashion photographer to celebrity meant that illustrators had to be content with working on articles for lingerie and accessories, or in advertising campaigns.
Most recently, illustration has come into vogue through collaborations between fashion designers and illustrators. With the use of social media, fashion illustrators are beginning to make their way to the spotlight. Bursting with vibrant colors, intricate patterns, and endless personality, fashion illustrations never fail to impress.
Sarah Goethe-Jones is a costume designer and fashion historian. She has a diverse background in theatre, film, styling, and museums.
She holds a degree from Parsons New School of Design in New York City, and is currently a student at University of Massachusetts in Amherst, Massachusetts. In 2018, Sarah served as a research fellow of fashion illustration at Norman Rockwell Museum's Center for American Visual Studies.
The styling has been variable over the past century and half or so. When Beau Brummel (the man often credited with inventing the modern suit) decided to wear the first hipster pants in the 1800's he was just trying to be different and unique. Who knew that he would start a revolution?
It did help that in the 1600's King Charles the II made a royal change to the dress code of the court. They were to no longer wear the opulent French uniform, but switch to English cuts and fabrics. Politics and environment heavily influenced the change which prepared the way for Brummel.
150 years is still very young in comparison to so many articles of history but the influence it has taken hold of over the world is massive. Nearly every developed nation is marked with the inclusion of the suit in politics and business.
I often wonder at the oddity of lapels and collars, the need to secure a noose around the neck of the shirt and the overall lack of color in men's clothing. Where does the desire for retaining vestigial patterns in clothing come from? The most odd thing about it is that I love it! I truly do love it. I love beautifully cut jackets with a perfectly complimenting shirt. I love ties in all of their absurdity and the craft of a well made pair of shoes.
The joy is confusing. All of the descriptions are particularly arbitrary; 'beautifully cut,' 'perfectly complimenting,' and 'well made.' It must partially be contributed to the suits' symbol of power, but I like to think that it also says something about our past. In the same way an aged wine is born with decades of knowledge and passion I see the modern suit as a sip of Domaine de la Romanee-Conti.
So I continue to illustrate. I continue to paint and create and iterate in the fashion of the bespoke tailors in Savile Row. I see and feel the beauty of men's clothing and fashion and I am excited to participate with everyone in wearing and exhibiting men's fashion.
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This book explain 53 fashions divided into 8 genres such as casual, elegant casual, proper style, basic, cute/pretty style, cool style, gal style, unique style, etc.
This book also introduce age groups, character characteristics, and brand names that may be helpful.
Illustrator. She works on illustrations in a wide range of fields, including book cover illustrations and illustrations, advertising key visuals, character design, music video illustrations, and collaborations with apparel brands.
Fashion illustration is the art of communicating fashion ideas in a visual form through the use of drawing tools or design-based software programs. It is mainly used by fashion designers to brainstorm their ideas on paper or digitally. Fashion illustration plays a major role in design - it enables designers to preview garment ideas before they are converted to patterns and physically manufactured. 152ee80cbc
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